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Brady is the the perfect blend of hick shit, innuendo, & a sad story. "You Sleep While They Watch" is the debut LP from Brady on a limited edition, radom colored Eco-mix vinyl record.

White Vinyl.
One cover corner is slightly dented.

Community building is maybe the most punk thing all of. Recent Halifax to Ottawa transplant Matty Grace (Cluttered, Century Egg, Future Girls) wasted no time in recruiting Ottawa punk mainstays Anthony Cardozo (Precious Failures, The Flying Hellfish) and “Ska” Jeff (Doxx, Dogma, Zooman) to bring Crisis Party to life. Blending influences from the Wipers to Wire and the Marked Men with the ethics instilled by those that came before them. Crisis Party is here to let you know it’s ok to struggle. Life is suffering. Let’s Party!

Opaque Gold Vinyl! "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Opaque Gold Vinyl! "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Opaque Gold Vinyl! "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."

"What happens when a band decide to fly? They become the primordial bird from Tor Ulven’s poem. The sensation of flying is striking. The musicians seem to levitate, so too their audience." – Susanne Christensen

On his sophomore album, Urfuglen, Christian Winther draw lines back to the post-punk era’s way of combining contemporary impulses with artistic sensibility. And following up on his debut album from last year, «The Clearing» (Fysisk Format), noise and experimentation is part of the picture also here, but with a genuine desire to find the beautiful moment, the shimmering harmony.

«It becomes the evocative sound of joy, immensely uplifting and markedly anti-depressive.», writes the danish art critic and writer Susanne Christensen on the album’s liner notes.

Behind the title and the Norwegian lyrics, Tor Ulvens surreal debut «The shadow of the primordial bird» from 1977 shines through. In Winther’s, like in Ulven’s, fabulating universe, surrealism’s instinctive, inward-looking and dreamy pictures are used as a way of processing the often cold and ruthless ravaging happening out there. But most importantly; to remind us of the connections we have with each other.

The «flying» band consist of some of the country’s most open minded, or post-punk-thinking, musicians from bands like Broen, Valkyrien, Monkey Plot and Mall Girl. Anja Lauvdal on synths/piano, Tuva Syvertsen on fiddles/vocals, Ina Sagstuen on vocals/electronics, Magnus Nergaard on bass and Veslemøy Narvesen on drums, in addition to Winther on guitars and voice. They each have strong signature expressions and contribute to an open soundscape full of spice, surprises and spontaneity. The intuitive is striking, and the record is mainly recorded live in the studio.

Urfuglen was born as a commissioned work for the edgy Oslo-festival Motvind’s 5 year anniversary, a perfect arena to present forward thinking music that can stand on its own completely free from the established genres. Within the open festival umbrella rock, free jazz, poetry, protest and spontaneity naturally coexist, and Urfuglen is exactly that. Last year’s lockdown turned the live premiere into a studio premiere, the musicians exhibiting a strong improvised attitude on top of Winther’s alternative rock compositions.

Although noise and experimentation is part of the picture, the influence from Brazilian music, or the way the guitar somehow found a new melodic balance in the 90s Chicago scene, seems just as strong. Contrasts find a harmony here, listen to Valkyrien’s Tuva Syvertsen singing harmonies with Winther on «Urfuglen, Pt. 2», or the acoustic guitars on «Marmor» intertwining like something Jim O'Rourke and Gastr Del Sol companion David Grubbs would come up with in the 90s. The musical relations are many; in addition to the post-punk-mood, threads go out to Brazilian Tropicalia, Japanese psychedelia and Oslo’s improv scene, who most of the musicians on the record are a part of.

Censored by a controlling under powered label we have finally released the album as it was intended. Altamont was no joke, it changed the world, it changed rock n roll forever. We covered at least one song every band that participated in Altamont…minus The Grateful Dead, who went home scared. Every song has a lords twist that is like a solid punch between the eyes. This was one of the hardest and funnest albums to record. It was great seeing all the past members come together for a session. Burrito Bros, Jefferson Airplane, Rolling Stones, Santana, Crosby Stills Nash and Young…how did we do it???? Dec 6th 1969 forever changed. 17 former Lords recorded this album in Los Angeles at the Glory Hole wih Nic Jodoin Gabe Hammond, John Tyree, Max Eisdon, Johnny DeVilla, Spencer Robinson, Wic Coleman, Dave James, Harry Drumdini, Kevin Starr, Harlen Spector, Warren Eaton, Christian Martucci, Nic Jodoin, Jake Cavaliere, Shawn Medina, Lights Out Levine, John Saletra.

Censored by a controlling under powered label we have finally released the album as it was intended. Altamont was no joke, it changed the world, it changed rock n roll forever. We covered at least one song every band that participated in Altamont…minus The Grateful Dead, who went home scared. Every song has a lords twist that is like a solid punch between the eyes. This was one of the hardest and funnest albums to record. It was great seeing all the past members come together for a session. Burrito Bros, Jefferson Airplane, Rolling Stones, Santana, Crosby Stills Nash and Young…how did we do it???? Dec 6th 1969 forever changed. 17 former Lords recorded this album in Los Angeles at the Glory Hole wih Nic Jodoin Gabe Hammond, John Tyree, Max Eisdon, Johnny DeVilla, Spencer Robinson, Wic Coleman, Dave James, Harry Drumdini, Kevin Starr, Harlen Spector, Warren Eaton, Christian Martucci, Nic Jodoin, Jake Cavaliere, Shawn Medina, Lights Out Levine, John Saletra.

Dust Moves' is the new full-length album from Saarbrücken, Germany-based duo Pretty Lightning. Since forming over a decade ago, the band are now on their fifth full-length, have toured around the UK and Europe on numerous occasions and shared stages with the likes of Moon Duo, Clinic, Kikagaku Moyo and Night Beats, among many others. Arriving following their 2020 LP 'Jangle Bowls', 'Dust Moves' is the band's first fully instrumental record and offers up a cinematic journey through meandering desert blues, strung-out psych-rock and widescreen, hypnotic drones. "We've been thinking about recording an instrumental album for a while because we particularly like the fluid movement it can create", the band say, citing contemporary instrumental artists like 75 Dollar Bill and Bobby Lee as influences alongside library music and the experimental synths of Mort Garson or Syrinx. "Even if these can be considerably different in genre or style, they can share a similar mood, it's somehow about 'sound' rather than 'song'." "Making this record always felt a bit more like sound explorations, less like writing songs", they continue: "We focused on using new instruments like the mellotron, a self-made "box of creepy tricks" and making guitars sound like they were actually not guitars. Words or lyrics would have just had a restrictive effect here and that wasn't what we were aiming at. In this manner, the songs on this record resulted from jams and evolved into repetitive and simply flowing instrumental pieces. It was a tonne of fun to make."

14 track vinyl version of the 2012 CD compilation. Pressed on pale blue vinyl, with printed lyric inner sleeve. First time on vinyl. Includes poster and postcard. A swish compilation LP featuring fourteen of the most memorable songs in the career of the top notch indie band THE HIT Parade. Entitled ‘pick OF THE Pops (vol1)’ the LP collects together the most poignant moments in the career of THE HIT Parade, and includes their thoughtful recording for Sarah Records “In Gunnersbury Park”, their tubthumping single for Minty Fresh USA “Hitomi” as well as other cuts, both cheerful and desolate in style, that feature Cath Carroll (Factory Records), Amelia Fletcher (Heavenly and Talulah Gosh) and Harvey Williams (Another Sunny Day and The Field Mice). THE HIT Parade was formed by Julian Henry with his school friends Matt Moffatt and Raymond Watts in 1984 when they released their first single ‘Forever’ on JSH Records. Since then they’ve clung to the sensibilities of pure pop and have become a curiosity item with their retro attitudes and songs about dead writers, disused swimming pools and failed love affairs. Their early vinyl singles were lauded by John Peel, the NME and Melody Maker, the now defunct weekly paper that published Julian Henry’S writing. In the 1990s the band toured alongside Edwyn Collins, The Milkshakes and Sarah Records notables, and signed to Japanese and US labels, releasing a sequence of albums that have since become collectible.

Modest became the talk of the town in native Denmark in 2017 when they released their debut single "Pretty Sure It's Honest". This saw them play the likes of Roskilde Festival and SPOT Festival in Denmark as well as Sebright Arms (London) and N.C.I. (Cambridge) in the UK. since then, Modest have released a line of EP's and singles to great exposure on Danish National Radio (DR). All the while, the band have been preparing their debut album 'Friend'. On 'Friend', Modest continue down the melodic, jangly path of their early material while widening their range and venturing into slightly darker territory. Lyrically, 'Friend' addresses the loss of lead singer Julius Lykke's mother: Expressing my state of mind during the last couple of years has been an imperative part of the making of this album. Despite the very personal content of the lyrics, I feel the album is inclusive towards the listener, and I hope it will resonate with people in a universal way. 'Friend' was recorded by Jens Benz in Silence Studio in rural Sweden and is set to release on May 6 2022 via Copenhagen based Part Time Records. Modest is Jacob Tjerrild (guitars), Jakob Ahlers (guitars), Stinus Kruse (drums) and Julius Kruse Lykke (Bass, vocals).

Shayne Carter and John Collie formed Straitjacket Fits in in 1986 after the demise of the Doublehappys and were joined by Andrew Brough and David Wood. The reissue of Hail is deeply tinged with sadness following the recent loss of Andrew Brough; gifted songwriter and guitarist of not only Straitjacket Fits, but also Bike and Dunedin band The Blue Meanies. Andrew's musical impact is undeniable and it's unimaginable to think of a world without his contributions to New Zealand music.Straitjacket Fits' debut release, the Life In One Chord EP appeared in 1987 and the album Hail was released in 1988. Both were recorded at The Lab in Auckland with Terry Moore (from The Chills). "[The songs] `Hail' and `Grate' suggested a monolithic guitar monster future and, while that is part of what can be found on Hail, there is a remarkable diversity of song and sound on show. The oft-described Shayne Carter/Andrew Brough duality of sour/hard and sweet/soft is a simplified observation of what is a much deeper and richer stew of ideas and sounds." reflects Flying Nun Records founder, Roger Shepherd.Hail is an album that beautifully showcases the many strengths of Straitjacket Fits in the early part of their development. It is a record full of furious off-piste guitaring and startling vocals anchored by a granite hard rhythm section but that also showcases gentler melodic material including a cover of Leonard Cohen's `So Long Marianne'. But generally the songs are more experimental in nature with a considerable range of material from Andrew Brough's standout `Fabulous Things' to the vigorous guitar noise of Shayne Carter's `Grate'.Hail is a documentation of a band on the up, a band flexing its potential and oozing confidence and optimism. With Hail the Straitjacket Fits were well on their way to giving the rock `n' roll thing their very best shot.

Mice Parade returns from a decade of silence to release lapap?, an album that spans the many styles of their storied career, and features guest singer appearances by Angel Deradoorian (Dirty Projectors) and Arone Dyer (Buke & Gase). The rock is louder; the West-African-inspired highlife breaks are chubbier; the dueling drumkits are more complex, the instrumental passages more serene. What started as a home recording project in the late 90s soon morphed into a formidable and completely unique live band of incredible musicians from around the globe, all live-mixed and effected by legendary UK engineer Brandon Knights (aka Dub Warrior), the longtime sound engineer for Lee Scratch Perry, Soul II Soul, Gladiators and others. After 9 albums and nearly 15 years years of worldwide touring, including festivals across the UK, Iceland, mainland Europe, Turkey and Japan, and supporting Stereolab across the US, Mice Parade fans can finally hear some new music, and the live band hopes to safely reunite later this year.Throughout it all, Adam has mostly recorded with same ethos: allowing only one take for each track, forcing him to either leave in mistakes or address them with mutes or distractions, and embracing the Bob Ross concept of 'happy accidents.' This was a strict rule for the first several albums, and while he eventually became less strict about it, it's still a goal that is achieved more often than not. Perfection is not the goal - indeed, there should be no such thing in music. Most songs are not even written before pressing the record button, but instead are built piece by piece in improvised fashion.lapap? is a Yoruba word meaning something akin to "totally" or "altogether." A worldwide tour was in place around the album's intended release, only to be cancelled upon the initial Covid lockdowns. Now it will finally see a release. it's a record that's worth the wait."This is American bedroom-auteur indie rock par excellence". - NY Times // "Mice Parade consistently released genre-bending albums" - BBC

Two years after the release of their last album Somewhere Else, BIG Mountain County releases a new EP. That's Klaus, the result of an evolution in sound and style that the band has carried out during the long months of forced absence from the scene. Unlike the past, the artistic production was in fact entirely in the hands of BIG Mountain County, which, never as this time, feel perfectly represented their soundscape in the tracks engraved on vinyl, available here from April 22. To open the dances there is (literally) What?, already released digitally last July. It is a song that, despite its attitude rooted in punk, is about artifice, about pushing the sounds to reach new landscapes. The super groovy bass lines, the crunchy drums, the connection between the synths and the vocals, raw, edgy but also refined and elaborate, push the band's style beyond the garage-psych overtones to which they have been associated. The lyrics are about a personal relationship, centered around someone very close who can turn into an unbearable person, leading us to a definitive reaction. But the song is also a vehicle for emotional release, so yell "What?" it becomes an indomitable will to move forward, to go through these absurd times that we are all living, a cry of anger against any kind of impediment. For What? was shot a video, released last July, signed by Paolo Sfirri. It follows the title-track THE Klaus Crossing, the unique track not yet unveiled. It is the track closest to the old production of BIG Mountain County, who speak of it as follows: “In such a "chaotic and fragile" period we need to dream even more strongly. On a heartbeat marked by the arpeggiator, a weave of guitars is being created to send the present to an other side, where we are stripped of material consistency and imagination takes the power. These days are too grey, some relationships are too worn out, there are no expectations, only the prospect of sinking. So we hurry: energies fade, time runs fast, but spring is just around the corner. And to be born it is necessary to die.” Side A is closed by Where ARE YOU?, released as a single in January. Here the contamination of psych sounds, exquisitely analog, with rhythmic and melodic lines with a more synthetic flavor is evident. Over a skeleton of a reiterated rhythm that is not afraid to refer explicitly to the krautrock of Can, we hear guitars and synthetic riffs that remain around Berlin, but look towards California, remembering The Brian Jonestown Massacre. In the middle of this combination, a synthetic arpeggio breaks in, to soon gets stuck in the pressing rhythm, and finally get confused in the closing explosion, BIG Mountain County's trademark. The band's "flirt" with Berlin and California doesn't end with the A-side. Side B, in fact, features the two remixes of Where ARE YOU?, both already released digitally last March. The first one is signed by AL Lover, , cult name of the international psych scene, known for his unique approach to psychedelic and experimental electronic music. Already author of remixes for bands such as Thee Oh Sees and Night Beats, he has collaborated with several labels (Stolen Body Records, The Reverberation Appreciation Society, Fuzz Club Records, Hoga Nord Rekords, Pnkslm Records and Crash Symbols) and artists such as The Brian Jonestown Massacre, White Fence, Goat and Cairo Liberation Front. He has also been the official DJ for festivals such as Levitation and Desert Daze. When Big Mountain County approached the California-based producer about remixing Where ARE YOU?, these were his words: "I really love this track! Been jamming it loud! I love the vibe of the original track and the production value. I tried to preserve some of those elements but with a different twist. I was able to sit down with this over the last few days. Really digging the results, I went with a mix of krautrock / shoegaze / chopped and screwed trip hop vibes." The result doesn't betray his words, but according to the band it goes even further: “The Californian producer Al Lover puts the music of Big Mountain County on film. He projects it on the big screen, cleverly uses photography and rewrites the plot with a very personal editing. Colors of the East, no longer intended as a lysergic space, but as a chaotic traffic of men, vehicles and animals on any given day in the Indian subcontinent (in Mumbai). In this marasmus the echo of what has been, or what could be, is there to re-propose the question that led to writing the screenplay: "Where are you?”. With the second remix, which closes out the EP, Big Mountain County are infected with a tropical disease in this remix masterfully produced by Tropicantesimo, aka UGO Sanchez, metropolitan prophet of slow rhythms and star of nights with no end, if not in hallucinated dawns front of the sea. Big Mountain County talks about it like this: “Here, more than hangover, that's "saudade" . So, the sense of lack becomes a curse - How does it feel to live so far away for me? - to be shouted, shared and cried. But outside, in some crowded city in the South of the world, it's Carnival and Summer is still there to be lived and danced, perhaps at a slower and more rhythmic pace.” An experiment, that of the remix of their songs, long in the band's wish book, finally fulfilled by Hugo Sanchez, cult Rome-based DJ and producer, recently protagonist of the recording declination of Tropicantesimo, a musical ritual dilated in time, through the celebration of sound and dance. This is a party, which over the years has become a real experience of listening, sharing and discovery out of time and space, finding home among the records and recordings of Pescheria, space-studio, but also record project, which sees Hugo Sanchez at the center of a collective of artists of various forms, musical, visual and sound installation. After having premiered two tracks by Klaus at the last Esns in Groningen (nl), Big Mountain County will return to play from April 23rd, in a tour with more than twenty gigs in Italy, Switzerland, Germany, France, Belgium and UK. In July they will be back in Berlin for the Fusion Festival 2022.

Perpetual Doom is proud to present the debut album from Sarah La Puerta: Strange Paradise. Begun on a dead-end street in Austin, TX and finished in a barn in upstate New York, this collection of original songs emerges from the inbetween places of the mind and heart, grounded by autobiographical truth that resonates with the force of myth.

Built around the gentle pulse of a Baldwin Fun Machine, a midcentury organ and synthesizer, each track revels in uncanny sounds that call on a world gone by. Swirling in the background are traces of Mexican boleros, Bulgarian choral music, and the melodic sensibilities of Old Bollywood. But even as La Puerta’s musical textures drift off into warm nostalgia, her words cut right to the present. On the opener, “A Gun,” she sings: “That’s why I’m buying a gun: I’d like to have some fun, now while the chips are down.” A peculiar levity throughout offers a distinct counterpoint to the ever-present themes of memory, desire and grief. Sarah La Puerta weaves between them in swaying arrangements that foreground her careful sense of melody and ascendant voice.

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name. This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects. We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love

Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as Liars, Tropical Fuck Storm and Viagra Boys. Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty's unique "singing" style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves. 2022 will see the return of Party Dozen, first in April with the 7" release, Fat Hans Gone Mad, for the Sub Pop Singles Club, and then in July with their third album, The Real Work, with a new label partner in New York's Temporary Residence Ltd. The Real Work succeeds in exploring new directions but also features some familiar Party Dozen touches. Perhaps most notable is the first-ever appearance of a guest other than Kirsty or Jonathan on a Party Dozen track, with Nick Cave ad-libbing a very memorable contribution to the album's second track, "Macca The Mutt."

My Proud Mountain is proud to announce third volume of the series "Songs of Townes Van Zandt", that was started in 2012 and features various artists covering Townes Van Zandt songs.Songs of Townes Van Zandt Vol. III featuring Amenra, Cave In & Marissa Nadler and will be released on April 22, 2022. Steve Brodsky of Cave In about being part of the record:"In the winter of 2010, I did a solo tour with Scott Kelly of Neurosis and Bob Wayne. It was the 3 of us and Ansgar Glade traveling in Bob's "green machine" van around the UK and Ireland. At every show, Scott played the song "Caroline" and each time I heard it, I found myself enraptured. This was my introduction to Townes Van Zandt. Pretty cool that 10 years later, Ansgar has given me and Cave In this great opportunity to show our love for TVZ's music." Lennart Bossu of Amenra says:"Being Belgians, the very American folk and country of Townes Van Zandt is not exactly the music we grew up listening to, but upon discovering his songs in our early twenties, they immediately struck a chord with us. Even people who do not understand the lyrics can probably tell that they are listening to someone who has lived and suffered, and, oddly enough, at the same time find deep comfort in his soothing voice. It is the kind of comfort that often defines great music or art in general, and it made the prospect of trying our own hand at a few of his songs no less daunting. Nonetheless, when we were asked to be part of this collection of Townes Van Zandt cover songs, we felt excited and compelled to be part of it, as, in a way, it offered us a chance to do something in return for the great songs he has given us, and also be a part of a series of albums that are almost exclusively comprised of artists we deeply respect." Marissa Nadler about Townes Van Zandt:"I've been a fan of Townes Van Zandt's music for nearly as long as I've been writing songs. When I was starting out, a friend introduced me to Townes's music and I pretty much instantly fe...

Pastel blue vinyl limited to 550 copies ww. RIYL: Jesus and Mary Chain, Shop Assistants, Black Tambourine, Sarah Records, My Bloody Valentine. Star Party began in March 2020 as a Seattle living room project between Carolyn Brennan and Ian Corrigan (Gen Pop, Vexx) - both sharing a love of high energy rock n roll music. The idea to start a band percolated during trips to the high deserts of eastern Washington to pick sage and see the sun as a brief reprieve from the misty and grey Pacific Northwestern Spring. A few months later, Star Party released Demo 2020 on Feel It Records, featuring two originals and covers of The Shop Assistants' "Something to Do" and the classic "All I Really Wanna Do" (in the vein of Cher's version). Over the course of 2021, Star Party wrote and recorded their debut LP, Meadow Flower, wherever and whenever they could. Employing like-minded Feel It label mate Caufield Schnug of Sweeping Promises (who also moonlights as one part of Melody Men Mastering) to mix and master the album, Meadow Flower follows a direct line from where Demo 2020 left off. Brennan's soft and clearly American vocals float over waves of feedback and drum machine racket like a delicate mist sitting just above a mountain lake. Melodies bob and weave inside an omnipresent static that fills in every nook and cranny of the recording. Drawing from a quiver of influences such as Black Tambourine, Confuse (JP), The Count Five, and of course The Shop Assistants (RIP Alex Taylor), Star Party's debut album seamlessly meshes together noise, melody, and harmony.

It's the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn't be a Bright Eyes project if a moment devoted to appreciating the past weren't turned into an opportunity to connect with the future. That's where the nine companion EPs come in. Or as Oberst puts it, "the supplemental reading" for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. "My thing was they had to sound different from the originals, we had to mess with them in a substantial way." Plus one cover that felt "of the era" in which that particular albums was made - a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

It's the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn't be a Bright Eyes project if a moment devoted to appreciating the past weren't turned into an opportunity to connect with the future. That's where the nine companion EPs come in. Or as Oberst puts it, "the supplemental reading" for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. "My thing was they had to sound different from the originals, we had to mess with them in a substantial way." Plus one cover that felt "of the era" in which that particular albums was made - a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

It's the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn't be a Bright Eyes project if a moment devoted to appreciating the past weren't turned into an opportunity to connect with the future. That's where the nine companion EPs come in. Or as Oberst puts it, "the supplemental reading" for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. "My thing was they had to sound different from the originals, we had to mess with them in a substantial way." Plus one cover that felt "of the era" in which that particular albums was made - a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

2022 Dead Oceans' reissue of the third album by the Nebraska indie band Bright Eyes. Fevers and Mirrors was recorded in 1999 and released on May 29, 2000. The album begins with a recording of a little boy reading Mitchell Is Moving, a book by Marjorie Weinman Sharmat. On this album the band used new instruments such as the flute, piano, and accordion introduced into the song arrangements. After "An Attempt to Tip the Scales", there is a mock radio interview that features Todd Fink of The Faint doing an impression of Oberst while reading a script that Oberst wrote. In this interview, the fake Oberst presents a strange, contradictory explanation of his attitude towards his music.

Dead Oceans' 2022 reissue of the debut album by Bright Eyes. A Collection of Songs Written and Recorded 1995-1997 was the first commercial release by Conor Oberst and features his vocals and guitar. The album saw Oberst beginning to experiment with drum machines, keyboards and other instruments. The sound of the album ranges from bleating vocals to acoustic guitar songs and techno-style synthesizer instrumentals.

Re-release of the second album of the Berlin outfit on the original OHR label. Produced by the famous photographer Didi Zill in 1971 at Hansa Studios.

Cardinal Fuzz and Feeding Tube Records bring to you for your listening pleasure Nudity Is God's Creation. A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem. Reissued and for the first time available domestically in the USA In 2004, a commune named Nudity, formed by four travelers from the astral plane, appeared in Olympia, Washington. The founding members were Dave Harvey (guitar) and JON Quitty Quittner (bass, though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From WAY Back When and Eryn Ross (drums) from Growling. A couple of self-distributed CDrs and a 12" on Discourage were a visual akin to colored liquid sloshing around on a transparency machine and were a pure drip feed for psych/kraut and Jap rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full-length LP arrived from the original line-up—something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the four sides of vinyl presented here go from Detroit fuzz blazing face melters to acid trippin' head swirling raga's via The Flower Travelin' Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released—don't make the same mistake a second time. Terrascope gushed about Nudity: "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years."

1000 only pressed on limited edition Translucent Smoke Vinyl plus DL card. A second super rare volume of trippy meandering from the Philadelphia psych rockers; a must-have insight into their long, strange trips from 2001. A viral jam session remastered for the very first time on cream vinyl. "Immerse yourself in the gloopily transcendental pleasures of the world's finest purveyors of psych-rock magnificence." The Quietus. The missing link between John Cage's 4'33" and Merzbow's ultimate noise; from drone blues mantras to the overloading miasma on the super heavy 'Montana Sacra'. "Their slowpoke psychonaut scuzz has floated into all sorts of strange places." Pitchfork. Guitars wail, Isobel Sollenberger intones, magic occurs. "Bardo Pond are no ordinary band." Drowned In Sound.

Clear vinyl.

Record Store Day 2021 Drop 2 release limited to 800 copies worldwide. 12 tracks of the best bits by Australian Underground Legends Bored!. Geelong's most raucous guitar led rock action destroyers, whom started a whole scene back in 1987, 12 tracks picked by a long term fan / friend of the band as a tribute to Dave Thomas, leader of Bored! who passed away in early 2020. All monies raised from this release to be passed to his surviving family. Its loud, and it rocks.. join in!