Search "hello+cruel+world" 2275 Items

Down In The Weeds, Where The World Once Was

Tape | 2020 | US | Original (Dead Oceans)

16,99 €*

Release: 2020 / US – Original

Genre: Rock & Indie

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A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

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Down In The Weeds, Where The World Once Was

LP+LP+All Media | 2020 | US | Original (Dead Oceans)

20,99 €*

Release: 2020 / US – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Vinyl with a couple of light scuffs. Still in shrink, but opened, with hype sticker

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Down In The Weeds, Where The World Once Was Black Vinyl Edition

2LP | 2020 | US | Original (Dead Oceans)

Release: 2020 / US – Original

Genre: Rock & Indie

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2xLP packaging features die-cut jacket and Side 4 phenakistoscope etching!

A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

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Down In The Weeds, Where The World Once Was Red & Transparent Orange Vinyl Edition

2LP | 2020 | US | Original (Dead Oceans)

Release: 2020 / US – Original

Genre: Rock & Indie

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First pressing on limited edition Transparent Red + Transparent Orange vinyl - 2xLP packaging features die-cut jacket and Side 4 phenakistoscope etching!

A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

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I'm Wide Awake, It's Morning

LP | 2005 | EU | Reissue (Dead Oceans)

Release: 2005 / EU – Reissue

Genre: Rock & Indie

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"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."

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I'm Wide Awake, It's Morning: A Companion EP Opaque Gold Vinyl Edition

LP | 2022 | CA | Original (Dead Oceans)

Release: 2022 / CA – Original

Genre: Rock & Indie

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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.

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Lifted Or The Story: A Companion EP Opaque Gold Vinyl Edition

LP | 2022 | EU | Original (Dead Oceans)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Lifted Or The Story Is The Soil, Keep Your Ear To The Ground

2LP | 2002 | EU | Reissue (Dead Oceans)

LP | 2024 | US | Original (Ghostly International)

Release: 2002 / EU – Reissue

Genre: Rock & Indie

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Lifted or The Story Is in the Soil, Keep Your Ear to the Ground Originally released 2002. "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

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Brijean

Macro

Macro Tangerine Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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Since their debut as Brijean, the project ofpercussionist/singer-songwriter Brijean Murphy(the percussive heartbeat for live bands like Mitski,Poolside, and Toro y Moi) andmulti-instrumentalist/producer Doug Stuart hasmoved with ingenuity, fusing psych-popabstraction with dance floor sensibilities. Throughthe body and mind, rhythm and lyricism, theymake sense of the worlds around and within; 2021'sFeelings celebrated self-reflection; 2022's Angeloprocessed loss, coinciding with the duo's firstheadlining tour, which doubled down on thematerial's desire to move. Now, across the playfulexpanse of Macro, arriving in 2024 on GhostlyInternational, Brijean engages different sides ofthemselves, the paradox of being alive. They'veleveled up to meet the complexities and harmoniesof the human experience with their most dynamicsongwriting yet. Colorful, collaborative,sophisticated, and deeply fun, the album animatesa macrocosm with characters, moods, and points ofview rooted in the notion that no feeling is final andthe only way out is through.

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Brijean

LP | 2024 | US | Original (Ghostly International)

Big Deal - Whats He Done Lately?

Release: 2024 / US – Original

Genre: Rock & Indie

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Brimstone Howl

LP | 2009 | US | Original (Alive)

30,99 €*

The Decline Of British Sea Power Yellow Vinyl Edtion

Release: 2009 / US – Original

Genre: Rock & Indie

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on orange vinyl!!

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British Sea Power

LP | 2003 | UK | Reissue (Golden Chariot)

7" | 2023 | EU | Original (Shimmy Disc)

Release: 2003 / UK – Reissue

Genre: Rock & Indie

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Released on the band’s own Golden Chariot Records label comes this lovingly rendered reissue of ‘The Decline of British Sea Power’, the band’s debut album, originally released in June 2003 to huge critical acclaim and available now on Colored Vinyl for the first time.

Over the course of their 5 studio LPs and three award winning film soundtracks, British Sea Power have become a true British institution: Top 10, Mercury nominated LP, 3 UK silver discs and renowned for their astonishing live shows in unique and unlikely locations – National History Museum, Great Wall of China, Cutty Sark, Cern Hadron Collider, Chelsea Flower show, down a Cornish mine, up in the hills in the highest pub in England, Jodrell Bank and at the John Betjeman centenary with Nick Cave, Barry Humphries, Ronnie Corbet and Prince Charles – as well as hundreds of more traditional sell out tours and festivals around the world.

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Britta Phillips & Kramer

Nocturnes

12,99 €*

LP | 2021 | EU | Original (Skull & Palms)

Release: 2023 / EU – Original

Genre: Rock & Indie

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In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, It felt good. I then put the idea under a microscope and found that it felt even better when i minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..."It all begins with imagery. Always. Let it be. If You fall in Love with the process, it's possible that the process will Love you back. The end results are important, but nothing is more important (to me) than the changes we experience as a result of the process. How are we different now, after the music is done? What has happened to us, because of these sounds we have made together, and these songs we have made? And, of equal importance... can the listener sense that something is happening o the artists as a result of their collaborations? And...can the listener experience some of that, too?RINGS OF SATURN won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips) and Psalms (w/ David Grubbs) and Preludes (w/ Eerie Wanda) and Elegies (w/ Jad Fair & Danielson) and Laments (w/ Paul Leary) and Hymns (w/ Rob Crow). working with others is my lifeblood. I am Nothing without them.TIME, with all its mysteries intact, and unfettered by borders, so that both the artists and the listeners can enter, in partnership, together. -Kramer, 2023

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Broilers

Santa Claus

Release: 2021 / EU – Original

Genre: Rock & Indie

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LP | 2023 | EU | Original (Beast)

Broken Waltz

Fables And Bones

LP | 2023 | EU | Original (Antinote)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Dark ballads, black litanies... Broken Waltz imagines a blues-rock cabaret, with demonic elegance and plunges us into the bayous of Louisiana where voodoo beliefs intermingle the universes of the living and the dead, the real world, and the supernatural world. Broken Waltz is still martial, stormy and pagan, but darker. The trio still rides on the tracks of Nick Cave, Tom Waits and even The Cramps!

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Bruce Falkian

Bruce Falkian Lp

21,74 €* 28,99 € -25%

Captain Entropy Clear Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Bruce Falkian is a world famous contemporary artist who exhibits at the world's most prestigious art galleries and fairs. Bruce Falkian moonlights as an agent of espionage against the Terrorism Industrial Complex. Wait... what?

To understand Bruce Falkian we first must understand the link between image and war. In the late 1800s the precursor to the video camera was invented. It was directly inspired by guns, specifically, Samuel Colt's Revolver. It borrowed not only its barrel mechanics, swapping bullets for exposures, but its terminology too. Load, point, scope, aim, shoot, flash. The camera and the gun, united by cordite, would go on to prove the most efficacious tools in shaping the modern world.

The 20th century was a laboratory when it comes to killing and image making, glorified through Hollywood and the Western genre. Propaganda would prove highly effective in creating and sustaining support for militaries fighting for ideological global control. Devised first in the aptly title 'Propaganda' (1928) by Edward Bernays, a nephew of Sigmund Freud, Advertising and Public Relations became the leading media industries, learning how to control the population through images, usually just to buy random crap they didn't need, but other times to overthrow democratically elected politicians in foreign countries. Eventually Western Liberal Democracy assumed domination, built of course on the enslavement of all peoples and nations who didn't fall in line with its specific ideas of living. The Red Scare inspired countless anti-leftist, anti-communist works of art throughout the Cold War, notably and most bizarre, funding the abstract expressionist movement as a non-ideological alternative to socialist realism art. When the Soviet Union fell, Western Liberal Democracy was able to promulgate its unhindered views around the world through its various media empires and actor states. Is it a coincidence that a third of the almost $85 billion dollar global camera equipment market is represented by the greatest propaganda beast the world has ever seen, the USA?

Guns are dangerous because of the obvious. Images are dangerous because we are bad at perceiving what is real (as any jump scare, deepfake, newsreel will attest to.) Videos aren't technically real, they are only a collection of rapidly changing static images which give the illusion of movement. It's easy for us to collectively decide that a video is real, because that's the way our brains perceive reality. People who lead the world of media understand this, which is how they are able to control us, make us invade foreign countries, vote for specific politicians, feel ugly or fat etc. However, ubiquitous as they are, it seems that the image is in crisis. It seems that we've run out of them. Or perhaps our understanding of an image is changing, with the aid of near instantaneous text-to-image AI technology. So what does this mean for guns? What does this mean for war? How will images be used as an aid to war in the 21st century? It remains to be seen, but Bruce Falkian will be a useful agent.

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Bruce Haack

LP | 1974 | EU | Reissue (Shimmy Disc)

The Machine Is Burning And Now Everyone Knows It Could Happen Again

Release: 1974 / EU – Reissue

Genre: Rock & Indie

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An electro-surrealist musical journey from the mind of Bruce Haack "The Captain" - capturing his inventive genius musically in tandem with tapping into the voice of his inner child, innovative story songs inspired by Bruce Haack's diverse musical interests and a love of Science and explorations of the Natural World, songs to excite the imaginations of listeners, both young and old.Ahead of his time and beyond categorization- Haack continued to create trying to find new platforms in order to promote his electronic music. He scored many commercials during the 1960s and promoted electronic music on TV, even demonstrating his inventions on Mister Rogers' Neighborhood in 1968. He self-released his first children's music album later that year. Haack constantly added new genres and inspirations to his compositions and was greatly influenced by the psychedelic rock of the era. He constantly created new work that reflected not only his varied interests, but his shifting musical horizons. He created multiple youth oriented albums, dipping into science fiction, psychedelia and electronica, using traditional song structures in order to capture children's attention to educate them, while wrapped in one of his many personas.Bruce Haack wanted people to know him through his medium: music. He dedicated his life to exploring, inventing and sharing his eclectic brand of humor and many musical points of view. In failing health, he never stopped pursuing his distinctive musical dreams.

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Bruit

LP | 2022 | UK | Original (Pelagic)

28,99 €*

LP | 2014 | US | Original (Cititrax)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Stunning debut, from French art rockers Bruit! Initially the band performed their creative research and sonic experiments solely in a studio setting. In the world of Bruit ≤, spontaneous experimentation, thoughtful composition and the aspect of performing in order to create are different but inevitably inseparable techniques of working on the same fabric: the black magic that is creating music. Artistic Identity comes from reconciling these different techniques and approaches of working on and with that fabric, and to understand this better while listening to this album, it helps to make yourself aware that one half of the musicians is classically trained, while the other half is not and barely knows how to read notes. The shifting to and fro between theory and practice, between research and performance and between thought and action are ultimately also reflections of the band’s fiercely activist mind-set. Bruit ≤ have everything a quintessential post-rock act needs, from an excessively long album name to drawn out compositions driven by atmosphere to immaculate climaxes led by soaring, delay-soaked guitars. The band effortlessly flows from atmospheric post-metal to free jazz, and from folktronica to neo-classical avant garde improv. Bruit ≤ can only be fully understood through their attitude rather than their musical influences, from the environmental agenda to the group's staunch boycott of Spotify because of the platform's notoriously sad pay-outs for musicians and their CEO Daniel Ek's recent investments in the arms industry... In that, the group is firmly nested in the tradition of political instrumental rock bands like Godspeed YOU! Black Emperor, and the tumultuous yet wordless sound of the revolution that they stand for is indeed somehow related to Bruit ≤'s own musical landscape.

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Bruta Non Calculant

World In A Tear

Unison Life Transparent Orange Vinyl Edition

Release: 2014 / US – Original

Genre: Rock & Indie, Electronic & Dance

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Cititrax is honored to introduce Bruta Non Calculant, a new project by Alaxis Andreas G, the mastermind behind Le Syndicat Electronique and numerous other analog electronic, experimental and esoteric industrial folk projects. Alaxis formed Bruta Non Calculant in 2006 along with his brother Victor-Yann (De Frontanel). Their debut album, World In A Tear, presents 10 tracks drenched in a dark european atmosphere complete with a sound fully formed and heroically executed. Themes of death, lust and unrequited love are all bound in this brown book-esque collection. The songs occupy their own space and communicate in their own language and as such almost seem to have the ability to alter time once the listener has succumbed to their discordant beauty. An unsurprisingly impressive comeback, Bruta Non Calculant’s debut album blends new wave elements with folkloric balladry impeccably, and approaches this with a modern sensibility.

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Brutus

LP | 2022 | EU | Original (Hassle)

31,99 €*

For You Colored Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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When times are tough, or you're feeling worn down, you start longing for a life of total peace. A life where there are no fights, arguments or lies; where there is no such thing as disappointment and your actions have no consequences. Some might call it a "fantasy world". Genre-jumping Belgian trio Brutus call it the "Unison Life" - a phrase that titles their third studio album. Unison Life is about all the stuff that wears you down in the first place. It's the ugliness, the pain, and the acts of bravery that get you through it all. Beginning with a portrait of contentment and unravelling from there, the album goes into battle and asks what really counts. In their own words: "Is this Unison Life a hoax? Or a quest?" Unison Life finds Brutus at their most intentional. They were more deliberate about the sound, which links into the artwork (produced by Mulders), as well as the music video for "Liar", which saw Mannaerts travel to Morocco for the first video the band has done that has fun with concepts and storytelling. The absence of touring over the last few years has seen Brutus channel 100% of their energy into Unison Life, and the result is a blistering illustration of a boundary-pushing band at the top of their game.

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BTS

12" | 2024 | JP | Original (Pony Canyon)

Bubble Tea And Cigarettes

Release: 2024 / JP – Original

Genre: Rock & Indie, Pop

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BTS is now one of the biggest artists in the world. "for You" was released in 2015 as their first original Japanese single, and for the first time it reached No. 1 on the Japanese Oricon singles chart. The A-side of the single will feature the song, while the B-side will include the Japanese version of "Let Me Know," which was also included on the CD release. The 12-inch vinyl will be available in pure color and transparent vinyl. This is the first analog release in 12-inch/45 RPM format from the latest digital remastered sound source.

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We Should've Killed Each Other

LP | 2024 | JP | Original (P-Vine)

34,99 €*

Buddy & The Crickets Holly

Release: 2024 / JP – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-08

Formed in NYC in 2020 and now based in Seattle, "Bubble Tea and Cigarettes" is a dream pop duo consisting of Andi and Kat. Gaining attention for their successful Asia tour in 2023, this pair has completed their second album, "We Should've Killed Each Other." Their music, reminiscent of Cigarettes After Sex, Beach House, and Mazzy Star, features a beautifully ephemeral mood and reverb that enchants listeners, transporting them to another world.

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The Chirping Crickets

LP | 1957 | Reissue (Waxtime In Color)

Release: 1957 / Reissue

Genre: Rock & Indie

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LP+7" | 2019 | EU | Original (Rock Is Hell)

Bulbul

Break!

19,99 €*

Release: 2019 / EU – Original

Genre: Rock & Indie

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It's Like The Earth Is Angry - Mmxxi.Ii.Ix + X

Bulbul

2LP | 2022 | EU | Original (Rock Is Hell)

Release: 2022 / EU – Original

Genre: Rock & Indie

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LP | 2024 | UK | Original (Last Night From Glasgow)

Burning Ferns

World Of The Wars

30,99 €*

Release: 2024 / UK – Original

Genre: Rock & Indie

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LP | 2023 | EU | Original (Intersuoni)

C'mon Tigre

Habitat

33,99 €*

LP | 2022 | EU | Original (Give Praise)

Release: 2023 / EU – Original

Genre: Rock & Indie

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C"mon Tigre, the innovative music collective known for their genre-blending compositions, releases their highly anticipated fourth album Habitat. Drawing inspiration from the concept of an ecosystem where various forms of life, both animal and vegetal, thrive and coexist, the album takes listeners on a sonic journey through the intricate and ever-evolving nature"s theater. C"mon Tigre"s ability to blend inï¬éuences from distant corners of the world enriches their music and visual imagery. The album is deeply inï¬éuenced by rhythms coming from Brazilian tradition, the backbone is rooted in samba, forro, through instruments and tempos that come from this cultural magnificence. However, it retains the African jazz, electronic, and mixed inï¬éuences that have characterized the project thus far. Connecting the dots, the result is a richly layered and genre-defying soundscape. The record boasts a stellar lineup of collaborations. Among these are Seun Kuti, heir to the legacy of the legendary Fela Kuti, whose afrobeat roots infuse the album with a potent and infectious energy. The record also features Xenia Franca, a dynamic Brazilian artist hailing from Sao Paulo, Arto Lindsay, recognized as a pivotal figure in the world of experimental music, Giovanni Truppi and the Californian collective Drumetrics which featured on C"mon tigre"s records since their debut in 2014.

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Caca De Luna

Züchtigungstheater

20,99 €*

LP | 1986 | JP | Original (MCA)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Real angry grindcore from Germany. No messing around, no pauses, no breaks, just pure anger. You can hear it in their voice! The world right now is pissing everyone off, which is a good thing! Raw, and unadulterated grindcore.

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Cactus World News

Urban Beaches

Warm Evenings, Pale Mornings: Beside You Then

Release: 1986 / JP – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Japanese pressing with obi.

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Caleb Dailey

LP | 2022 | EU | Original (Alien Transistor)

Kosei Nenkin Hall, Tokyo 1980 Clear Blue Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Growing up in the Californian sprawl and the vast suburbs of Phoenix, Arizona, Caleb Dailey largely dismissed the country and western music that surrounded him. Instead, he was drawn to independent rock, experimental zones, and other genre-defying forms, which led him to create skewed rock music with Bear State and establish the “minimal art label” Moone Records with his brother Micah Dailey in 2013. But in the early half of the 2010s, Dailey began to hear things differently. Drawn into the left-of-center works of artists like Gram Parsons and Blaze Foley, a more idiosyncratic take on country, folk, and roots music began to swirl in his imagination.

Wandering into the form’s cowboy chords and lonesome scenes, Dailey found himself wondering what his own country album might sound like. The result is his debut solo album, a collection of covers called Warm Evenings, Pale Mornings; Beside You Then. Produced by John Dieterich of Deerhoof, Keiko Beers, and Dailey himself, it’s a melancholy charmer, rooted in traditional ideas but free roaming in its scope. Laced with synths, pedal steel, acoustic guitars, and commanded by Dailey’s full and woozy voice, it owes as much to the busted waltzes of Lambchop and the homespun lo-fi folk of Little Wings (whose Kyle Field appears on the album via a spoken intermission) as it does to the songwriters and performers who provide its source material, which include Parsons, Foley, Elvis Presley associate Chips Moman, steel guitarist Buddy Emmons, and others.

“The subversive nature of country music isn’t as much at the surface as some other genres,” Dailey says. “But the deeper down the ‘country hole’ I went, the more I wanted to be part of it. It is truly a strange world.”

The hands of Dailey and his collaborators, which includes a wide roster of DIY experimentalists like James Fella of art punks Soft Shoulder, Jay Hufman (Gene Tripp), Lonna Kelley of Giant Sand, Japanese DIY hero’s Koji Shibuya and Tori Kudo, Nicholas Krgovich, Markus Acher of The Notwist, and more, that strangeness is accentuated. Dailey doesn't aspire to retro Nashville fetishism or sanctioned notions of “realness” so much as a genuine outsider authenticity. Take his version of Gordon Lightfoot’s “If You Could Read My Mind” for example: a highlight of the record, it pairs familiar genre signifiers like pedal steel and guitar strums with warbled synths. Then there’s his read of “Dreaming My Dreams,” originally made famous by Waylon Jennings (who also did time in the Arizona desert), which morphs from a mournful ballad into a wash of far-off sonic noise.

The attention here is on the songcraft itself, with Dailey inhabiting these songs and turning them inside out to reveal unexpected tenderness and playfulness.

Recorded at home with an acoustic guitar and 4-track, Dailey began open correspondences with his collaborators, who fleshed out ideas and added touches, often working with skeletal frames before Dieterich and Dailey shaped it into a cohesive whole. “John is the reason this album exists,” Dailey says. “He sculpted all these parts together in such an otherworldly way. He is truly a magician.” Deeply allergic to insincerity, Dailey avoids any trace of irony. He’s created a cohesive gem out of disparate parts, uniting Americana songcraft with experimental disassemblage. From this bric-à-brac, he’s made something touching and beautifully strange.

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Camel

LP | 2023 | EU | Original (Floating World)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Remember I Was Carbon Dioxide

Camera

LP | 2014 | EU | Original (Bureau B)

Camp Cope White Pink & Blue Twister Vinyl Edition

Release: 2014 / EU – Original

Genre: Rock & Indie

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The so called "Krautrock Guerilla" is back! After touring the world for two years the Berlin threesome CAMERA recorded twelve new songs: Motorik-driven, energetic stretches laced with psychedelic overtones rise up from keyboards, drums and guitars. Hypnotic beats. Shimmering elegance, forceful bursts of garage rock, a gentle flow, spherical flight. All on Camera's new album "Remember I Was Carbon Dioxide".

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Camp Cope

LP | 2016 | US | Reissue (Run For Cover)

LP | 2023 | EU | Original (Thanatosis Produktion)

Release: 2016 / US – Reissue

Genre: Rock & Indie

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"The sound of indie-rock today" - Pitchfork 8/10"Rising stars from the Melbourne punk scene" - triple j Born in a Melbourne backyard over home job tattoos, CAMP COPE - Georgia Maq, Kelly-Dawn Hellmrich and Sarah Thompson come together to add body and beat to Georgia Maq's solo songs which she has been performing for the past few years. The eight track debut tells of real life working shifts in a hospital, living in rundown share houses in Footscray and what it's like to be a woman in the world. CAMP COPE's soulful, indie-punk played under Maq's raspy and robust voice have made it okay to enjoy feeling angst again. Having already shared stages with the likes of Modern Baseball, Kurt Vile, Wax...

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Carl 666 Gustaf

Claim

Release: 2023 / EU – Original

Genre: Rock & Indie

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LP | 2018 | EU | Original (Earmusic Classics)

Carl Band Palmer

Working Live Vol.1

Release: 2018 / EU – Original

Genre: Rock & Indie

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2LP | 2018 | EU | Original (Earmusic Classics)

Carl Band Palmer

Working Live Vol.1

Release: 2018 / EU – Original

Genre: Rock & Indie

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LP | 2018 | EU | Original (Stocks In Asia)

Carl Broemel

Wished Out

Release: 2018 / EU – Original

Genre: Rock & Indie

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LP | 2023 | EU | Original (Acrobat)

Carl Perkins

Dixie Fried 1955-62

Release: 2023 / EU – Original

Genre: Rock & Indie

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LP | 2024 | DE | Original (ZYX Music)

Carl Perkins

His Greatest Hits

17,99 €*

Release: 2024 / DE – Original

Genre: Rock & Indie

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CD | 2022 | AU | Original (Kallista)

Carla dal Forno

Come Around

13,99 €*

LP | 2022 | UK | Original (Sticky Buttons)

Release: 2022 / AU – Original

Genre: Rock & Indie, Pop

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

digipak. tiny wear

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Carlos Fire Aguasvivas

Eclipse Of The City

21,99 €*

See You In Chemistry Light Blue & Cream Vinyl Edition

Release: 2022 / UK – Original

Genre: Rock & Indie

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First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

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Carly Cosgrove

LP | 2023 | US | Original (Wax Bodega)

Release: 2023 / US – Original

Genre: Rock & Indie

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The Cleanest Of Houses Are Empty Green Vinyl Editoin

Carly Cosgrove

LP | 2024 | US | Original (Many Hats / Wax Bodega)

Release: 2024 / US – Original

Genre: Rock & Indie

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Case Studies (Jesse "The Duke" Lortz Solo)

The World Is Just A Shape To Fill..

LP | 2011 | US | Reissue (Sacred Bones)

16,99 €*

LP | 2024 | Original (Cd-R)

Release: 2011 / US – Reissue

Genre: Rock & Indie

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...the Night.

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Cassie Ramone

Sweetheart

LP | 2024 | EU | Original (ADA)

Release: 2024 / Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-22

Sweetheart is the first Cassie Ramone album in ten years, a crowning glory for a singular artist who has forged a unique path through the underground. Breaking out in the late 00s with the revered Vivian Girls, to her current status as a traveler on the
heartworn highway, Cassie Ramone has survived and thrived. Sweetheart is Ramone's greatest recorded statement to date:
focused songwriting shot through with American tragedies, distorted guitars and tear-stained fretboards. Recorded with
collaborator Dylan White in Richmond, VA in the latter's Valley Structures barn studio between December 2023 and March
2024, Sweetheart is Ramone's songwriting rendered direct but with a sweeping cinematic quality. Smeared with reverb and
scintillating like stars in the pitch black night, these songs fulfill the promise of Ramone's songwriting prowess.
Ranging from heart-stealers like I'm Going Home or Joy to the World to the riotous guitar scree of the titular Sweetheart,
Ramone's songwriting here is raw and direct, bolstered by White's perfectly balanced instrumentation. White's work on
Sweetheart blows up Ramone's songs to epic proportions, with waves of shoegazed guitars crashing and cresting with
emotion. As a result, Sweetheart fits effortlessly in with the best of Ramone's work with Vivian Girls and The Babies. With the
emotional vulnerability at its core, Sweetheart is Cassie Ramone emerging as one of the most honest and vital songwriters of
the underground.
Sweetheart, released on White and Ramone's new CD-R Records, builds on Cassie Ramone's legacy as a DIY pioneer. With Vivian Girls, Ramone and her bandmates forged a distinctive sound from 80s Punk, Shoegaze and 60s Girl Groups, delivering it with a dedication to world-building and Do It Yourself pragmatism. CD-Records and this first release are a continuation of Ramone's mission to maintain creative and aesthetic control over her art, communicating directly and honestly. Sweetheart may
also be the best record of her career.
Released on Cassie Ramone and Dylan White's label CD-R Records

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Cassyette

This World Fucking Sucks

Release: 2024 / EU – Original

Genre: Rock & Indie

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This World Fucking Sucks Indie Exclusive Colored Vinyl Edition

Cassyette

LP | 2024 | EU | Original (ADA)

Light Information Loser Edition

Release: 2024 / EU – Original

Genre: Rock & Indie

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"Cassyette is the future face of alternative” – Kerrang!

“Cassyette is not an artist anyone can hope to pin down and box up: she’s shown she can do it all” – NME

“A modern rock staple in the making” – GAY TIMES

“Unashamedly illicit and unapologetically raw, Cassyette is here to relight rock” – TMRW

Cassyette has had an incredible start to 2024 with the release of lead singles ‘Why Am I Like this?’ and ‘Ipecac’, and a huge support slot on Bring Me The Horizon’s UK arena tour. Ahead of her own UK and European headline tour, Cassyette has shared the raw and powerful new single ‘When She Told Me’. Pairing painfully beautiful lyrics with her signature screams and a heavy instrumental, the haunting track recalls the heartbreaking moment Cassyette learnt of her father’s passing and the grief that consumed her afterwards.

Cassyette has amassed a cult social following with over 134k Instagram followers, 550k monthly Spotify listeners, and over 1.2million followers on TikTok. Having achieved over 38 million streams on Spotify alone and ongoing editorial support from Spotify and Apple, Cassyette has received praise from the likes of Radio 1’s Jack Saunders and Clara Amfo (Hottest Record In The World), Kerrang!, NME, GAY TIMES, MTV and Amazon Music UK. Cassyette was also awarded ‘Best British Breakthrough’ artist at the 2022 Heavy Music Awards. 2023 highlights include gracing the cover of Kerrang!, becoming the first featured artist for TikTok’s Rock Hub and performing at Glastonbury

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Chad Vangaalen

LP | 2017 | US | Original (Sub Pop)

World's Most Stressed Out Gardener

Release: 2017 / US – Original

Genre: Rock & Indie

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Nobody cared about their old heads, because the new ones work just fine now, don't they?.... they have the same size mouth and eyes. The song "Old Heads" is a sci-fi space anthem to technology that constantly replaces itself, proving both necessary and unnecessary at the same time. It's also a jangly pop gem, a trip through the fantastical that is ultimately warm and relatable. This remarkable coexistence is one of many achievements of Chad VanGaalen's Light Information, his sixth record on Sub Pop, due September 8th. For an album that's about "not feeling comfortable with really anything," as VanGaalen says, Light Information is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery could only come from the mind of a creative polymath--an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, Metz, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others. While alienation has always been a theme of VanGaalen's music, Light Information draws on a new kind of wisdom--and anxiety--gained as he watches his kids growing up. "Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that's happening through the internet," he says. Throughout the dark-wave reverb of Light Information are stories of paranoia, disembodiment, and isolation--but there's also playfulness, empathy, and intimacy. The product of six years' work, going back even before 2014's Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen's Calgary garage studio. As always, VanGaalen wrote, played, and produced all of the music on Light Information (save Ryan Bourne's bass part on "Mystery Elementals" and vocals on "Static Shape" from his young daughters Ezzy and Pip), and designed the cover art.

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Chad Vangaalen

LP | 2021 | US | Original (Sub Pop)

7" | 2021 | EU | Original (La Vida Es Un Mus)

Release: 2021 / US – Original

Genre: Rock & Indie

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The initial vinyl run Sp1408 is pressed on a clear w/gold, red, blue high melt! 2020 was a terrible year for gardening. It was terrible for peppers, it was terrible for tomatoes, it was terrible for the condition of the soul. But Chad VanGaalen somehow raised a garden all the same: carrots and sprouts and broccoli and a revivifying new album, all of them grown at home. He likes to eat directly off the plant, he says-"I get down on my knees and graze. It's nice to feel the vegetables in your face"-and the 13 songs on World's Most Stressed Out Gardener were harvested with just such a spirit: in their raw state, young and vegetal, at the very moment, they were made. What that means is that the Calgary songwriter's new album is a psychedelic bumper crop. A collection of tunes that does away with obsessiveness, the anxiety of perfectionism, in favor of freshness and immediacy - capturing the world as it was met while recording alone at home over a period of years. "Don't overthink it," VanGaalen told himself again and again, despite the push/pull love/hate of his relationship with songwriting. "I'm always trying to get outside of the song-but then I realize I love the song." This is a record that gleams with VanGaalen's musical signatures: found sound, reverb, polychromatic folk music that is by turns cartoonish and hyperphysical-like ultra magnified footage of a virus or a leaf. Apparently, the LP began life as a "pretty minimal" flute record. (There's only a vestige now, on "Flute Peace"-one of three instrumentals.) Later it became an electronic record "for a while" and finally, "right at the last second," it "turned into a pile of garbage." The good kind of garbage: glinting, useful, free. Music as compost-leaves, and branches ready to be re-ingested by the earth, turned into a flower. Throughout these 40 minutes, VanGaalen floats from mania to solace to oblivion, searching for zen in all the wrong places. "Turn up the radio / I think we're dead," he sings on "Nothing Is Strange"; or, on the inside-out rocker "Nightmare Scenario": "You're stressed out when you should be feeling very well." The singer's mental landscape is rotting and redemptive, beautiful in spite of itself-and his soundscapes reflect this fertile decay. He has been influenced by his instrumental work on TV scores (Dream Corp's third season began this fall), but still "nothing can really replace the human voice," he admits. Like Arthur Russell or Syd Barrett, it's VanGaalen's vocals that shine a path through the swampland-from the cello-lashed "Water Brother" to "Starlight"'s krautrock pipe-dream. These days, VanGaalen cherishes the privacy of the studio, the capacity to wander around, get distracted, and "move at the speed of life." Whereas once he would obsess over mic techniques, now he puts the microphone in the same place every time-trying to capture a song quickly, the idea at its heart. He'll act on his infatuations-for the flute, a squeaky clarinet, his basement's copper plumbing (remade into xylophones for "Samurai Sword")-and then he'll try to get out, "veering away from responsibility," before he overdoes his stay. In the end, it's like gardening. You have to live with your horrible decision-making; the weather's going to fuck you if it wants to; and if you plant a hundred heads of broccoli, "now you gotta eat a hundred heads of broccoli-or watch them go to seed." But mostly VanGaalen just tries to be a deer: "I remember seeing some deer come out in the Okanagan Valley once," he says, "watching them wait for a sunbeam to hit a perfect bunch of grapes-and then eating them right out of the sunbeam. I'd recommend that."

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Chain Cult

We're Not Alone

11,99 €*

LP | 2024 | US | Original (In The Red)

Release: 2021 / EU – Original

Genre: Rock & Indie

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"Once The Sadness Of Their 2020 Canceled American Tour Was Gone, Chain Cult Went Back To The Practice Space To Write New Songs, It Was A Perfect Way To Keep Finding Meaning In A World At A Standstill. They Are Back Stronger Than Ever With Two New Raging Post-Punk Anthems, They're Bringing Exactly What We Need In These Troubled Times. These Two Songs Give Us Elements For Reflection On Our Lives, A Good Occasion To Think About What We Miss And What We Want For The Future. " We're Not Alone " And " Always A Mess " Show The Band At Its Best. The Very Powerful Rhythm Section Allows The Guitarist To Play The Most Beautiful And Dark Melodies And The Singer To Chant The Catchy Choruses That Chain Cult Is Known For. During Uncertain Times, It Is Good To Be Surrounded By People You Trust To Continue Moving Forward; In This Spirit Chain Cult Has Kept The Same Recipe As For Their Previous Records. No One Can Say What The Future Holds And We Can't Act Like This Is Normal But Always Shall We Remember That We're Not Alone In This World"

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Charles Moothart Of Fuzz

Black Holes Don't Choke

Charles 'Poppy Bob' Walker

Release: 2024 / US – Original

Genre: Rock & Indie

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The ever poignant yet exceedingly elusive Chorg Dorgon speaks on the new album by Charles Moothart, entitled Black Holes Don’t Choke:

“For the sake of clarity, and its clarity that we seek, Charles has been a pillar of our musical experience since he began playing eons ago in the various projects and countless albums he has contributed to. Charles is a musician who has been constantly on the road for years playing in Ty Segall’s Freedom Band and Fuzz. When there has been a rare time away from those engagements especially in the post-pandemic scramble to catch up world of gigs and tours, he has been spending all of his time in his laboratory figuring out how to synthesize all of the info he has collected and musical ideas he has developed in the past few years since the last CFM record and subsequent shows for this new solo work. Just before the pandemic started, he was out playing solo shows in a project that revolved around an MPC sampler, just to give an example as to the wideness of his explorations. His result is Black Holes Don’t Choke. Love songs for the apocalypse. A prayer toward optimism amid chaos. A plea toward nature. The themes on this album are the themes of today. Charles appeals for us to visualize evolution. And with a signature, the music sounds exactly as you want it to. It sounds like Charles Moothart’s music only more evolved and with greater focus and direction. With greater textural dynamic and more sonic variation and realization, but never sacrificing the insane riff that he is clearly the master of. He gets to the point on this record. He is presenting a voice you can understand and rely on as you make your own journey into it. Create your own meanings. The record now belongs to the world. Because we all start a thought as that which is beginning-less and endless and at some certain point it becomes its own thought, takes it owns shape and becomes itself, separate from the thinker, separate from the observer. alive in the ether!”

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Dirt Bike Vacation

LP | 2024 | UK | Original (Worried Songs)

Count The Stairs Metallic Silver Vinyl Ediiton

Release: 2024 / UK – Original

Genre: Rock & Indie

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“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye Ymca”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober.

On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma:

“Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.”

Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments.

The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

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Charlie Hickey

LP | 2021 | US | Original (Saddest Factory)

17,09 €* 18,99 € -10%

Charlie Megira & The Hefker Girl

Release: 2021 / US – Original

Genre: Rock & Indie

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Born in 1999, Charlie Hickey grew up in South Pasadena, just minutes from Downtown Los Angeles. Raised by two singer-songwriter parents, Charlie's second language was music since day one. As early as grade school, he was making sense of the world through songwriting, and by middle school he was writing, recording and performing songs that attracted a community of collaborators and could silence a room. A turning point for Charlie came at around the age of thirteen, when he covered a song by then up-and-coming artist Phoebe Bridgers, who was still in high school herself. The two quickly became friends and collaborators, setting Charlie on an exciting new musical path. Years later, Bridgers introduced Charlie to songwriter, drummer, producer and her bandmate Marshall Vore, who noticed something special about Charlie. The two began writing and recording songs together, and soon Charlie dropped out of school to work on his music full-time. Charlie Hickey's first proper single, out now, is "No Good At Lying." The Marshall Voreproduced track introduces us to Charlie's evocative storytelling and features Phoebe Bridgers on backing vocals. "I'm no good at lying / on my back or through my teeth / but I'm good at dreaming / I can do it in my sleep," he sings over hushed guitars and a whimsical banjo, searching for truth as his unconscious mind runs wild and bleeds into reality. It's a slow, quiet, and understated peek to the world of Charlie Hickey, who is barely of legal drinking age, but taps into such universal themes that showcase a wisdom beyond his years and exudes promise for what's to come.

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Charlie Megira Und The Hefker Girl Black Vinyl Edition

LP | 2023 | EU | Original (Numero Group)

Charlie Megira & The Hefker Girl

Release: 2023 / EU – Original

Genre: Rock & Indie

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In 2006, Israeli garage-nik CharlieMegira took a sonic turn whilepartnered with Israeli multi-instrumentalist Michal Kahan. Theduo wasted no time forging a new path,swapping Megira's trademark reverbfor echo, and guitar-noir for newwave.Charlie Megira Und the HefkerGirlis an unabashed continuation ofgothy '80s archetypes employed byJoy Division, JAMC, and The Cure.Originally self-released on CD-R,we've remastered the 12-track discfor maximum Crosley crush.

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Charlie Megira Und The Hefker Girl Black Vinyl Edition

LP | 2023 | EU | Original (Numero Group)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: Near Mint

Charlie Megira & The Hefker Girl

Charlie Megira Und The Hefker Girl Opaque Ennui Vinyl Edition

LP | 2023 | EU | Original (Numero Group)

Yesterday, Today, And Tomorrow

Release: 2023 / EU – Original

Genre: Rock & Indie

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Charlie Megira

7" | 2023 | EU | Original (Numero Group)

16,99 €*

Highs In The Minuses Blue Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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On his 2000 debut,Da AbtomaticMeisterzinger Mambo Chic, Megirachannels the optimism of post-warAmerica, narcoleptic surf, and theTwin Peaks soundtrack into a lo-fi lo-rider masterpiece all his own.Sung in both Hebrew and English,Mambo Chic moves at a deliberatepace, unconcerned by the traffic ofthe modern world and wrapped in ablanket of Tascam 4-track hiss. On"Tomorrow's Gone" Megira achievesthe feat of being so far back in timethat he's somehow living in the futureand waiting for the rest of us to arrive.Hear our 2 favorite cuts in back-saving, crate-flavoring 7" format ripeand ready the dive bar soundsystemhosting your favorite BYOV night.

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Charlotte Cornfield

LP | 2022 | US | Original (Double Double Whammy)

LP | 2023 | US | Original (Felte)

Release: 2022 / US – Original

Genre: Rock & Indie

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When the world shut down in March 2020, Charlotte Cornfield was in the middle of an artist residency in the Rocky Mountains, hunkered down in a hut with a baby grand piano, sketching ideas for a followup album to her Polaris-Longlisted 2019 LP The Shape of Your Name. In a matter of hours, she found herself back home in Toronto with months of touring cancelled and a wide swath of time ahead of her. She began to write feverishly, mining her memories and dreams and recounting them with vivid detail. When the songs were finished, she headed to Montreal to record with producer/engineer Howard Bilerman (Arcade Fire, Leonard Cohen), drummer Liam O'Neill (Suuns), bassist Alexandra Levy (Ada Lea), and guitarist Sam Gleason (Tim Baker). The group tracked the album in 5 days, mostly live off the floor, seeking to capture the raw emotion of the songs. The result is Highs in the Minuses, a memoir in fragments. Here Cornfield fully embraces the role of narrator, moving from one vignette to another in a colourful collage. We see her at 21, heartbroken and lost, carrying a friend's 3-legged cat back to her apartment in a box; then as a teenager, playing a new song for a group of friends on a trampoline. She sings of a magical first date, an ex with a mean streak, two skateboarders gliding in a lakeside parking lot. The brutal honesty in her lyrics brings to mind writers like David Berman and Adrianne Lenker, while musically she conjures a Zuma-era Neil Young, leaping from crunchy guitar rock to piano ballads with effortless grace. Highs in the Minuses is Charlotte Cornfield's strongest offering to date, each song a gem in and of itself.

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Chasms

Glimpse Of Heaven

LP | 2019 | EU | Original (Hardly Art)

Release: 2023 / US – Original

Genre: Rock & Indie

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Felte Records presents `Glimpse Of Heaven' - a stunning new album by the Hawaii-born, LA-based musician, singer, producer and professional mastering engineer Jess Labrador, AKA Chasms. Labrador's deeply personal work as Chasms has always felt like an unveiling. Following 2019's `The Mirage,' which was a dark, dubby meditation on grief and loss, this new album is both familiar and different. The third full-length under the Chasms name, `Glimpse of Heaven' trades in washes of reverb for starker moments of closeness and intimacy. An exploration of the personal inventory and reckoning necessary to move forward in life, the LP considers not only how we relate to the world, but more importantly how we relate to ourselves. While always distinct, you could previously detect post-punk, shoegaze, and dub sensibilities in the music. Dreamy drift tethered by skittered beats, airy vocals, and melancholic melodies are here like previous efforts too. However, at the same time, Labrador steps into new territory with an expanse of vaporous synths and samples, adding to the project's ethereal electronic pop and dubwise pulse. Lush guitars glisten throughout the album, but this time only in sparse, disciplined embellishments. `Glimpse of Heaven' is a fully realised version of Chasms beyond its influences; to say that this is a seamless evocation of such disparate sounds as Massive Attack, Basic Chanel, Sade, Seefeel and Dif Juz is to say it is wholly unique. While she continues to unfurl her thoughts, there is a shift from opening up to the listener toward allowing the listener to witness her opening to herself. Where the last Chasms record was about various kinds of collapse, `Glimpse of Heaven' is about trying to develop as a whole person. It seems to ultimately be asking whether what we want and what we need align in ways that will get us where we want to be. Can we let go of the comfort of bad habits and steer ourselves toward a less easily obtained but maybe more enduring happiness? `Glimpse of Heaven' is a Chasms record, but really it's a Jess Labrador record. This is the first release operating on her own, and it feels like that's the only way this could have been made. It finds itself in the rare company of those few records that exist within themselves; it's a complete environment. You don't need to know anything to tune in and enjoy the world that she's created. It's a record that feels indebted to itself. It offers premonitions but not directions. It gives us honesty, but doesn't claim to know exactly where that will lead.

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Chastity Belt

No Regerts 10th Anniversary Edition Edition

Release: 2019 / EU – Original

Genre: Rock & Indie

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Vinyl includes mp3 coupon.Initial run of vinyl will be on Light Green transparent.Chastity Belt talks a lot about intention these days-how to be more present with each other. The four piece-Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)-is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It's a space where the euphoria of making music with your best friends is protected from the outside world's churning expectations. It's a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other. Their fourth record, Chastity Belt, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. "So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again," says guitarist Lydia Lund. "It was so important to have that-not saying, 'we're gonna get back together at this point,' but really just open it up so we could get back to our present connection." Their experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som's Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing "old songs, and trying new things on top of it," like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that's not only a product of, but a series of reflections on wha...

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Chastity Belt

LP | 2013 | US | Reissue (Suicide Squeeze)

LP | 2019 | EU | Original (Captured Tracks)

Release: 2013 / US – Reissue

Genre: Rock & Indie

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Limited Black & White Swirl Vinyl.On December 29, 2012, three songs into Chastity Belt's first KEXP in-studio, something extraordinary happened: they shared "Black Sail" with the world.That year, I'd seen Chastity Belt play countless basement, bar, and DIY shows all over Seattle, but nothing could've prepared me for how my friends turned patience and quiet observation into something so affecting and effortlessly cool. Ten years later, "Black Sail" isn't just a fan favorite - it's practically a statement of purpose for the great albums that followed.But before those records, there was No Regerts: the sound of four friends evolving from a party band into a "real" one (whatever that means) in real-time. They're above it all on "Seattle Party," "Happiness," and "Evil," but remain the sirens of Whitman College's cursed frat houses - see the explosive choruses of "James Dean," "Healthy Punk," and "Pussy Weed Beer."When No Regerts came out in the summer of 2013, Seattle - and the world at large - took notice. I still hear these songs in surprising places, and they still surprise me - just as they did a decade ago. If you missed out the first time, this is your second chance.

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Chastity

Home Made Satan

Chaz Bundick meets The Mattson 2

Release: 2019 / EU – Original

Genre: Rock & Indie

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Brandon Williams' second full-length record as Chastity, Home Made Satan, is a new direction for the Whitby, Ontario-native. It's an emotional and political concept album from the perspective of a young man who's spent too much time alone, inside, isolated from the world. It's about fear, and radicalization; an intense meditation on youth and extremism in an increasingly irrational and violent Western World.Williams, who produces all his own music, set out to create something with a strong cinematic nature. "It's so visual to me," he says. "I'm scoring this picture I have, and trying to get it as close to people's ears as it is in my mind."The new songs are gothier and poppier than ever, recalling `80s staples like The Cure and Siouxsie and the Banshees. Home Made Satan's got "a bit more eyeshadow" than 2018's genre-bending shoegaze-meets-post-hardcore Death Lust, and it's got pop-punk hooks for days. Home Made Satan, with its lines about commies and American masochism and the Christian right, is meant to sing along to.And when you do, you'll mostly be singing about America. About hyper alienation and xenophobia, about the people who don't have access to community, how people get stuck in their own worlds and become afraid of what's outside. "It constantly feels like America is falling apart," Williams says, and that affects the whole world.

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Star Stuff

LP | 2017 | US | Original (Company)

18,99 €*

2LP | 2017 | US | Original (Sargent House)

Release: 2017 / US – Original

Genre: Rock & Indie

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Given the state of modern music and its fabricated pop icons, what Chaz Bundick Meets The Mattson 2 achieves is a collective music victory in a new era of progressive soundscapes. World-renowned composer/producer extraordinaire Chaz Bundick (Toro Y Moi, Les Sins) has teamed up with the psychedelic-jazz grooves of The Mattson 2 for an album that unifies a trio's creativity into a refreshing project of unhinged sonic originality.

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Chelsea Wolfe

Hiss Spun

41,99 €*

Hiss Spun Black Vinyl Edition

Release: 2017 / US – Original

Genre: Rock & Indie

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Recorded by Kurt Ballou of Converge and joined by Troy Van Leeuwen of Queens of the Stone Age and Aaron Turner of Old Man Gloom and Sumac amongst others Hiss Spun is meant to be something of an “emotional purge” in response to the disarray of the outside world.

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Chelsea Wolfe

2LP | 2017 | UK | Reissue (Sargent House)

31,99 €*

LP | 2022 | EU | Original (Freedom To Spend)

Release: 2017 / UK – Reissue

Genre: Rock & Indie

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“When musicians have this intensity in them, they often get to it 5 sooner and stay put. Ms. Wolfe sounds like she’s using it by choice, not disposition; she can use different kinds of darkness as colour or tincture." - NY Times // “The reigning dark priestess of goth-scarred art rock.” Rolling Stone // Hiss Spun is Chelsea Wolfe’s sixth album. Following her acclaimed 2015 album Abyss, Hiss Spun is at once dynamic, heavy, and raw. NPR shared the song “16 Psyche,” saying, “Wolfe has always possessed a talent for dynamic song writing, particularly concerning the theatre of the soul. But the masterful "16 Psyche" is a full-on ride, and one that finds her at her most commanding and climactic yet." Recorded by Kurt Ballou (Converge), the album was conceived as an emotional purge, a means of coming to terms with the tumult of the outside world by exploring the complexities of one’s inner unrest.

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Cheri Knight

American Rituals

LP | 2022 | EU | Original (Computer Students)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Cheri Knight's music emerges from the outskirts of late seventies / early eighties Olympia, Washington, offering sound that is both performative and meditative, electronic and organic, collaborative and self-contained, and richly rewarding. Nestled in the nascent milieu of Evergreen State College, where Cheri studied music composition, her practice developed between campus studios and expeditions to San Francisco and Mt. Temper, New York, where she apprenticed and collaborated with Pauline Oliveros and Linda Montano; always adapting to the musical and philosophical timbre of those times and places.American Rituals captures an artist's environmental emergence, unearthing a unique compositional voice and spotlighting regional sonic ethos. The seven works collected here, largely from various DIY cassette and vinyl compilations, range from polyvocal chants, pensive instrumental works, spoken-word collages, primal post-punk excursions, and hymn-like incantations. All are bound by a performative energy, expressing a Cage-ian commitment to the present moment, but also harboring a meditative interior. Marrying the seeing and hearing senses, Cheri's early work primarily plays with words-spoken, sung, recited, incanted, chanted, instructed, whispered - expressing the ritualized patternings of everyday material turned beautiful and strange, musical and hummable, conceptual and devotional.Freedom to Spend excavates this verdant period of experimentation, meeting Cheri at a moment of elemental evolution. Restored and remastered from original tape sources by Josh Bonati, the vinyl edition includes comprehensive liner notes by Steve Peters, a high quality, multi-format digital download, and a future world of past possibilities.

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Cheval De Frise

35,99 €*

Chime School Transparent Magenta Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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A "cheval de frise" is a military defensive structure. It is the alias under which Thomas Bonvalet and Vincent Beysselance formed their duo, creating anxious, agitated music with perpetually changing, almost baroque, patterns. Urgent, emotional and paradoxically structured and thought out in the finest detail, it drew much of its Influences from the many forms of 90s American post-hardcore, while being undeniably singular. The formation was instrumental and the bass was abandoned for an amplified classical guitar, giving them their signature sound. In a French musical landscape where rock and guitar music did not thrill much anymore, Cheval de Frise came as a surprise. After a few demos, the band released their first eponymous album in 2000 on Sonore, a label based in Bordeaux. It was well received, allowing Cheval de Frise to tour all over Europe. Their second album, Fresques sur les parois secrètes du crâne, was recorded in 2002. The band split in 2004 leaving their mini album La Lame du Mat to be released posthumously. Around the world, many instrumental, energetic, fast and complex bands would emerge in the following years, usually labeled as "math rock". But the unique color of Cheval de Frise remained, marked by a certain anachronistic romanticism. Remastered by Carl Saff. Cheval de Frise is reissued on New York label Computer Students and is available for the first time ever in cassette and double LP. The vinyl version is presented in a beautiful gatefold sleeve with an impressive poster. The whole thing is packaged in a sealed foil pouch, a trademark of the label.

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Chime School

LP | 2021 | US | Reissue (Slumberland)

Cho Co Pa Co Cho Co Quin Quin

Release: 2021 / US – Reissue

Genre: Rock & Indie

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Chime School is the project of San Francisco musician Andy Pastalaniec. Endlessly charmed by 80s indie and its 60s forbearers (and any record with a 12-string guitar), Andy cut his teeth as a drummer with SLR labelmate Odd Hope in their early group Pink Films; later with shoegazers Cruel Summer, and currently with indiepop outfit Seablite. But it wasn't until he was gifted a cassette 4-track portastudio "almost as a dare," that he came out from behind the kit to write and record his own material. Aptly named for its autodidact roots, Chime School pays homage to the formative jangle of The Byrds by way of early Primal Scream and The Springfields; the production and pop sensibility of the Biff Bang Pow and The Razorcuts; and the spirit of great singles labels like Creation, Postcard and Sarah. From the dreamy album opener "Wait Your Turn" to the driving jangle of "Dead Saturdays" and the lush, epic "Gone Too Fast" we can see that we're in the presence of a very talented writer indeed, someone with a lifetime's worth of pop fandom just waiting to burst out in song.

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Tradition

LP | 2024 | UK | Original (Cho Co Pa)

35,99 €*

Passive With Desire Clear Vinyl Edition

Release: 2024 / UK – Original

Genre: Rock & Indie, Pop

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Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself. Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present. Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth. Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of Badbadnotgood. “In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks. Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!” Hugely popular in Japan, with festival appearances lined up alongside Badbadnotgood at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. Released digitally in July 2023, Tradition will get a full international vinyl release in January 2024. You won’t have heard anything like it.

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Choir Boy

LP | 2016 | US | Reissue (Dais)

Passive With Desire Neon Pink Vinyl Edition

Release: 2016 / US – Reissue

Genre: Rock & Indie

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Since his recording debut as Choir Boy in 2016, Adam Klopp has crafted nostalgic anthems, tapping the sound of swirling 1980s synth noir and captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti. The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

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Choir Boy

LP | 2016 | US | Reissue (Dais)

LP | 2024 | US | Original (Gar Hole)

Release: 2016 / US – Reissue

Genre: Rock & Indie

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Chris Acker

Famous Lunch

30,99 €*

LP | 2007 | EU | Reissue (Glitterhouse)

Release: 2024 / US – Original

Genre: Rock & Indie

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"released October 11th, 2024. 140 gram SANDWICH BLUE vinyl with printed innersleeve lyric page. Chris Acker's latest collection of songs, Famous Lunch is, in his words, a "growing pains album." When writing the record, Acker found himself hunting for a voice that wasn't just an imitation of the one he'd been using on the last 30 songs he'd made. "At the same time, I worked hard to find a certain voice for myself over the previous 3 records and I didn't want to abandon that." While the album finds him continuing to transcribe life's fleeting and provocative banalities with refreshing grace, the songs on Famous Lunch are intentionally more absurd, stylizing his lyricism as both poetic and disarming simultaneously- commencing with "Shit Surprise"-an earworm with a vernacular that stays true to it's title. Inspired by George Saunders and Sasha Pearl (and wanting to make a song that sounds like Eagles saying the word "shit" over and over), "Shit Surprise" is the most Chris Acker song possible, in that it's earnestness arrives in spades and comes varnished with a one-of-a-kind, spectacular gnarliness. "We'd match our breath in the upstairs room and we'd hold together 'til I smelled like you," Acker sings, before nose-diving into that unforgettable chorus about stepping in a smelly, disgusting pile of shit. "It was definitely the first record I had to make while working and trying to be a real musician," he says. Across the record's 10 songs, Acker is joined by his Growing Boys bandmates Zach Thomas (bass), Nikolai Shveitser (pedal steel), Dave Hammer (guitar, vocals), Sam Gelband (drums, vocals), and Howe Pearson (piano). They made the album in December 2023 in the same place where their debut Re-Runs was recorded on a reel-to-reel more than seven years ago. "It's a fun full-circle moment," Acker says. "We really wanted to do another fully live record in that room, but, we're a way different band now, so it was especially cool." Many of these 10 songs are about an appreciation for closeness, no doubt a product of Acker having written many of them in pieces while on the road and during a two-week residency in Butte, Montana in the spring of 2023. On a track like "Swimming in My Calvin's," Acker takes a pause from musing about making swimtrunks out of underwear to meditate on the intimate warmth shared between lovers ("When I come home and lay down and you turn your body into me, I hold you below your belly button and you make the softest sound"). Album centerpiece "Wouldn't Do For You (Buddy)" Acker sings about "drawing my finger along your spine, crossing the room in your underwear" and a face next to a candle that looks like "a corner house under turning headlights." Though none of the songs on Famous Lunch came to Acker in a dream like "If I Needed You" did to Townes Van Zandt, the music sounds like the environment it was composed in: in-between self-booked gigs and late-night crashes on cross-continent couches, with different routines in different cities for years. When Acker sings about "doing dishes in the glow" or "follow[ing] whims like birds carry seeds" or "the inevitable ever when we're no longer together," you can hear the pages and pages of Moleskin journals being ripped through. He calls it "frankensteining" songs, the act of cobbling together memories-both drunken ramblings and clear-eyed yearnings-into poems with new lifespans, tape-hiss fadeouts, and plucky introductions. Famous Lunch contains some of his best work yet ("Stubborn Eyes," "Wouldn't Do For You (Buddy)," "Eyelash") and some raucous, bar-ready new joints ("Don't You Know (Who I Think I Am)," "Cursive Proverbs"). Caught someplace in-between the cowboy laments of Jerry Reed and the tender-hearted annals of Gram Parsons, Acker puts his world on a clothesline and let's it dry out in the sun. Famous Lunch is full of confusion and fragility, but it's also full of love not taken for granted and a profoundly familiar ache for domesticity and a clock turned ba

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Chris & Carla

Fly High Brave Dreamers

Release: 2007 / EU – Reissue

Genre: Rock & Indie

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LP | 1998 | EU | Reissue (Glitterhouse)

Chris & Carla

Swinger 500

Release: 1998 / EU – Reissue

Genre: Rock & Indie

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Velvet Fog: The Studio Recordings

Chris & Carla

LP Box | 2020 | EU | Reissue (Glitterhouse)

109,99 €*

Release: 2020 / EU – Reissue

Genre: Rock & Indie

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Paint A Room Red Vinyl Edition

Chris Cohen

LP | 2024 | US | Original (Hardly Art)

Chris Forsyth / Dave Harrington / Ryan Jewell / Spencer Zahn

Release: 2024 / US – Original

Genre: Rock & Indie

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Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler-to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen's terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn't come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen's meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener "Damage," the existential exhaustion of modernity on the horn-traced jangle "Laughing": this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen's music feels like a warm spring breeze, easy to love and gentle to feel. But it's often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor's wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly...

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First Flight

LP | 2022 | UK | Original (Algorithm Free)

31,99 €*

LP | 2024 | US | Original (Chris Isaak)

Release: 2022 / UK – Original

Genre: Rock & Indie, Electronic & Dance

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"First Flight" documents about 40 minutes of jams recorded during the third week of my September residency at Nublu last year, and, for me, this show was just about the most enjoyable hour of music I played all year.

The ideal of the residency was to mix things up with special guests, different band lineups, and varied set lists, keeping things fresh and new week-to-week, and this show was the wild card of the bunch.

That's because although Ryan and I have played together for years, and Dave and Spencer have played together for years, neither half of the band had ever met each other. I was tangentially aware of Dave and his music and was intrigued by what I'd heard, so I thought it was a cool idea when Chris Tart, the residency promoter, suggested a collaboration.

So, about 30 minutes after we'd all heard each others voices for the first time, we got up and played for a little over an hour, uninterrupted. The only thing discussed beforehand was that we shouldn't discuss anything beforehand - not a key or a riff to start with, nothing - so as to preserve maximum spontaneity.

I think this music demonstrates a real connection on stage. In other words, each player was completely present and actively listening on the bandstand. Listening back, there are moments I can hear Ryan saying - musically - "Hey, let's go over here! Check this out!," or Spencer being like "Wouldn't it be cool to go down this path?" And we followed. And it was cool.

In my mind, that listening thing is the number one most important factor in any collaboration or cooperative effort, but especially in improvised music.

And I think it's fair to say that a little more listening, a little more presence, would do the whole world some good right about now, don't you think?

-Chris Forsyth

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Chris Isaak

Heart Shaped World

34,99 €*

Release: 2024 / US – Original

Genre: Rock & Indie

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Hold Your Love Still Black Vinyl Edition

Christian Kjellvander

LP | 2023 | EU | Original (Tapete)

Hold Your Love Still Dark Green Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Naked but for a soft blanket of reverb, Christian Kjellvander’s tender voice invites us into his latest creation, the swooning ‘Hold Your Love Still’. His first solo album since 2020’s ‘About Love And Loving Again’ finds the Swedish troubadour in a reflective mood, exploring the difficulties of an honest life amid the entanglement of capitalism, and imploring us to nurture that faltering hope for a better tomorrow. Though he’s grappling with existential and environmental tensions, Kjellvander strides from stoicism to optimism, augmenting his trademark minor melancholy with soaring major compositions, each concise, precise and considered – a conscious turn towards song from the freeform expressions of recent collaborations. Rich in natural imagery, understated poetry and an infectious empathy, with meaning imbued in every line, this is the work of an accomplished songwriter at his most vital. For Christian, the love of the album title is a state of energy or a concentration of feelings, an ineffable quality which he sometimes feels is missing in modern society. Dewy opener “Western Hemisphere” affirms that everything we need is already in our grasp; we just need to stay still long enough to see it. A grounded celebration of the power of nature, this is a reminder that the long grass has more beauty than the manicured lawn. Our preoccupation with perfection also informs “Notes From The Drive Between Simat and Alcoi”, a travelogue from South-Eastern Spain inspired by breathtaking valleys, a Cistercian monastery and the comforting distortion of a well used sound system. Recalling a gig in Alcoi, a town famed for its labour movement even as the world’s pickets fall hushed, Kjellvander rejoices in the jagged countryside, weathered stone buildings and buzzing speakers, protesting the straight lines and clean sound of our commercialised existence as the song builds from ballad to anthem.

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Christian Kjellvander

LP | 2023 | EU | Original (Tapete)

Quitters Olive Green Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Christian Lee Hutson

LP | 2022 | EU | Original (Anti)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Language Barrier Translucent Red Vinyl Edition

Chuckamuck

LP | 2020 | EU | Original (Staatsakt)

19,79 €* 21,99 € -10%

LP | 2012 | EU | Reissue (Cien Fuegos)

Release: 2020 / EU – Original

Genre: Rock & Indie

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Limited to 150 copies. Only at HHV.

“It has not been definitively proved that the language of words is the best possible language” -
Antonin Artaud
If this is your first time to hear about Chuckamuck, there's a good reason for that: This is a reach-out project, beyond the personal and commercial barriers that exist for a European band that sings in their own mother tongue. Language is a tricky business in Rock and Roll, especially for a German band. To resign oneself to sing in English, and be open to the dominant Anglophone music market whilst hoping your tunes resonate with local scenes and fans, not only risks billing a band as less unique, but also denies them the right of native poetry by applying their best-known language to express themselves lyrically. In the greater music market, it has been acceptable to hear German in parodist stereotypes, such as the robotic nature of Kraftwerk or violent sexual imagery of Rammstein, which are consumable for international audiences. However, over the 14 year career of Chuckamuck, their expressions have varied from their teenage years as “punk rock Rimbauds” into teary-eyed mysticism, soulful desire, despotic vexation and much more. And as dedicated artists and lyricists, they have intimately touched their German speaking fans; however due to this language barrier, they have been frustrated to not share the full “Chuckamuck experience” with fans during their European tours with The Black Lips, King Khan and the Shrines, Beatsteaks, Demons Claws and The Strange Boys. As founding member and main crafter of the Chuckamuck world Oska Wald says, “You originally think 'its music, it's going to be understood in any language', but Chuckamuck is so much more than our songs, it's an enterprise of our art, animation, live shows, videos, comic books, an entire world we have produced”. Which brings us to the Language Barrier project: In essence, this extremely ambitious project is a Chuckamuck “Best Of”, with remakes of pearls from different periods of the band since their inception in 2006, translated into 8 languages (Italian, French, Spanish, Swedish, Polish, English, Hebrew and Japanese), recorded by bandmember and songwriter Lorenz with longtime Chuckamuck engineering pals Thomas Götz and Max Power at O'tool Studio. Each song is impressively presented in its own unique video clip, defining the images and moods of the band. The whole project was produced over three years with a great deal of patience and heart. Inspired by the efforts of the Beatles in the 60s, who saw it fit to record awkward versions of their early hits into French and German, as well as the wealth of worldwide 60s bands who recorded pop songs into a “third language” by naively and phonetically singing in English, Chuckamuck wanted to capture this excitement of reaching potential new audiences and actually being understood. Another big influence has been the flawless multilingualism of their Staatsakt labelmates, Stereo Total. A few elements make this project really special. Firstly, as a Berlin band, Chuckamuck employed the
help of their local international family to help with the translations. These world class artists worked together to recreate songs in their own languages, so that the deliveries maintained the life and ingenuity of the original works. These include the sensational Swiss folk musician Melissa Kassab,
renown Swedish comic artist Crippa Almqvist, and Japanese cartoonist and animator SHOXXX. Of particular interest over the record is the transformation of 'Eis Am Stiel', an older Chuckamuck classic, inspired by the joint Israeli-German cult film of the same name. Translated by the bands' newest member, Amit Alcalai of The Gondors, its transition into the original language of the film is notably cultural and impressive. Similarly, the hit "Sayonara" translated makes it sound like the 80s Japanese new wave song it always begged to be and is very addictive. Chuckamuck's anthem to their own ironic ennui of being German and desiring to sound like a 70's Nashville band, 20.000 km performed in French accentuates their honest desire and is incredibly effective. On top off all this, 11 complete music videos have been produced for each song off of this album, all including original hand-drawn animations by award-winning cartoonist Oska Wald. Three weeks after a particularly rough mushroom trip, Oska had a flashback to a moment of intensity and visual disturbance from the trip – and began drawing, plate by plate, the original animations which would continue for three gruelling years to complete these creative masterpieces. Each clip highlights in leitmotifs what each individual member of Chuckamuck brings to their sound and attitude, which is now available for you to explore, as Chuckamuck has so lovingly reached out to you, in your own
language. Do them the favour back of exploring the work of this diverse, energetic, and romantic punk band on the eve of their 14th anniversary!

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Chuzpe

1000 Takte Tanz

Cigarettes After Sex Black Vinyl Edition

Release: 2012 / EU – Reissue

Genre: Rock & Indie

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Too good for this world" - as one of their songs used to be called. Reissue of the landmark album of the legendary Austrian New Wave Band! Chuzpe combined Englisch lyrics with Viennese dialect, modernism and underground with the Austrian Top40 of the early 80s. ,1000 Takte Tanz" brings timeless classics of the Austrian music-history.For the first time on 180g vinyl, remastered by Amann Studios.

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Cigarettes After Sex

LP | 2017 | UK | Original (Partisan)

LP | 2021 | EU | Original (Tough Love)

Release: 2017 / UK – Original

Genre: Rock & Indie

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Cigarettes After Sex frontman Greg Gonzalez had a clear vision for his band’s gorgeously cinematic debut album. After the phenomenal online break-out success of “Nothing’s Gonna Hurt You Baby”, from the band’s debut EP 1, the Brooklyn transplant (originally from El Paso) wanted to project his worldview on to a bigger screen, a broader canvas. As Greg explains, “This is like the novel or feature-length version of Cigarettes. I wanted it to feel like a complete work, where some of the imagery repeats – like it’s all in the same world. It’s very much a fulfilment of the feelings in the short works.”

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Cindy

1:2 Blue Vinyl Edition

What's Tonight To Eternity

Release: 2021 / EU – Original

Genre: Rock & Indie

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Cindy Is A Band Built Around The Singing And Guitar Playing Of Karina Gill. She Became A Musician Only Recently, Having Sat On The Sidelines While Ex-Partners And Friends Made Their Stabs At It. Gill Describes A Chance Encounter With An Abandoned Squire Strat Left In The Basement By A Previous Tenant, "Mummified In Electrical Tape With The Remnants Of A Burrito On The Head Stock", That Led Her To Begin Carefully Strumming Her Way Through Simple Chords And Making Her Own Songs. After One Interesting Self-Released Lp, Still Finding Their Footing, The Band Made The Masterful And Buzzed-About Free Advice, Which Went From A Limited Cassette On Local Sf Label Paisley Shirt To Vinyl Pressings On Tough Love (Uk) And Mt St Mtn (Usa). Cindy's Third Lp Arrives In Quick Succession, The Quietly Devastating 1:2. Jesse Jackson On Bass, Simon Phillips On Drums And Aaron Diko On Keyboards Weave The Perfectly Thin Web Behind Gill's Slow Velvety Strums And Murmured Melodies. The Rhythm Section Brings The Crude Flow, While The Keys Add Subtle And Surreal Counterpoint To The Withering World Gill Depicts In Her Lyrics. "Songs Tie Together Seemingly Disparate Things By The Logic Of Mood," Gill Tries To Explain. This Isn't Dream-Pop Sunshine Bliss; Half-Closed Black Drapes Hang On The Window Where The Narrator Stares Into The Middle Distance. "Sometimes You Say You're Feeling Small/You Plan All Day For Your Own Funeral", She Intones In Party Store. Gill Has A Way Of Halting Her Phrasing That Makes It Feel Like Her Thoughts Are Gently Tumbling Into The Abyss. It's This Unsettling Quality Mixed With The Hazy Atmosphere That Makes Cindy's New Lp 100% Addicting And The Perfect Antidote To Comfort Listening. Glenn Donaldson, 2021_

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Cindy Lee

LP | 2020 | EU | Original (W.25th)

LP | 2023 | EU | Original (Tough Love)

Release: 2020 / EU – Original

Genre: Rock & Indie

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For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. "Singers like Patsy Cline and The Supremes carried me through the hardest times of my life," explains Flegel, "and also provided the soundtrack to the best times."
Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies – a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder. What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide.
Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer / drummer's early recordings as well as her look and style. "I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown."What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song "Heavy Metal" (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.

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Cindy

Why Not Now

Cindy Wilson of The B-52's

Release: 2023 / EU – Original

Genre: Rock & Indie

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"Everyone's hoping that nobody sees/all our little efforts at dignity"This last line of the title track from Cindy's fourth LP Why Not Now? works as a slogan for Karina Gill's evolving musical vision. Her music is simple out of necessity and introverted in delivery, but the songs contain vivid worlds and are quietly ambitious. With this latest batch, Gill pulled the process of making Cindy music even more inward. "Some of these songs were first recorded as demos alone in my basement. I think that process set the tone for the record_Maybe it set up a kind of starkness," she says. Moving on from the fixed quartet that performed the first three albums, Gill worked alongside original keyboardist Aaron Diko to develop the songs and they enlisted players from the ever-blossoming SF pop scene to realise her minimalist vision -- members of Flowertown, Telephone Numbers, April Magazine, Famous Mammals, and Sad Eyed Beatniks to name a few. The collective sounds fill out the record perfectly with John Cale-esque viola on 'August', lo-fi fairground organs, and a tasteful full-band sound that crops up throughout. 'A Trumpet on a Hillside' is the most triumphant Cindy has ever sounded, all ascending chords and a wedding march melody tumbling out of an old synth. Still, some of the best moments are Gill alone, as on 'Playboy', just naked guitar and voice, and when the forlorn whistling solo kicks in, it feels like the loneliest star is imploding in a distant galaxy. While the dream-pop tag is probably still relevant, this isn't algorithm-fed genre ambience. Gill's vocal/lyrical presence can be as gently momentous as Leonard Cohen or as intellectually potent as any '79-'80 Rough Trade post-punk. "In writing a song", Gill says, "all the disparate parts of being me momentarily correspond, like car alarms and party music momentarily matching beats." Cindy's Why Not Now? is that muffled street symphony inside a passing daydream.Genre: Indiepop; Slowcore; Indie RockRIYL: Sarah Records, Galaxie 500, Algeb...

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Change

LP | 2017 | US | Original (Kill Rock Stars)

LP | 2020 | EU | Original (Discos Nada)

Release: 2017 / US – Original

Genre: Rock & Indie

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Known the world over as a vocalist, songwriter, and founding member of the one and only B-52s, Cindy Wilson has made a truly extraordinary solo debut with her new Change (Kill Rock Stars). The album – which arrives just in time to celebrate the legendary singer’s fortieth anniversary in the musical spotlight – marks a milestone for Wilson, abounding with pop creativity, ingenious production, confident songcraft, and deeply felt emotion.

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Cinema

LP | 2024 | UK | Original (Meat Machine)

Release: 2020 / EU – Original

Genre: Rock & Indie

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Cinema Was An Experimental And Avant-Garde Piece Released In Early 1985. In Many Ways It's An Example Of The New Brazil That Was Reborning After 21 Years Of Darkness Under Military Dictatorship. Musically, It Was A Pioneer Album For Brazilian Music, Mixing Acoustic And Synthetic Sounds.The Track "Sem Teto" Was Included In Outro Tempo (Electronic And Contemporary Music From Brazil 1978-1992), Compilation By DJ John Gomez Released By The Dutch Label Music From Memory.This Rare Adventure In Brazilian Music Was Released Independently In 1985, Financed By The Artists Themselves. The Original Small Press Sold-Out, Belonging Now To Record Collectors Around The Planet. For The First Time Cinema Is Re-Released On Vinyl, With Two Extra And Unreleased Tracks Found After Decades.Remastered From The Original Tapes, This Reissue Includes Reproduction Of The Original Art, By Waltércio Caldas And Miguel Rio Branco, An Eight Pages Color Booklet Full Of Photos, Images And New Testimonials From The Four Members Of The Project And A Long Article Signed By Bento Araujo, Author Of The Book Series Lindo Sonho Delirante, Which Investigates Audacious And Fearless Music Created In The Brazilian Underground.Info:1985 Was One Of The Most Important Years In Brazil's Recent History, When The Country Was Freed From More Than 20 Years Of Military Dictatorship. The Youth Took The Lead And Finally Brazil Entered The World Show Business Circuit With Rock In Rio Festival. But The Real Revolution Was Happening In The Underground And This Record Is A Proof Of That.One Of The People In Charge Was The Musician, Composer, Poet, Writer, Scriptwriter And Speaker From Rio De Janeiro Ronaldo Tapajós, Who Was Always Involved With Experimental And Avant-Garde Music. His Trajectory Begins In The Mythical 1968, When, As Part Of The The Duo Rô And Carlinhos, He Released An Emblematic Single Containing The Song "O Gigante" - Perhaps The First Brazilian Bad Trip Recorded On Vinyl And A Shrewd Criticism Of The Society's "Square...

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Cistern

New Standard

LP | 2009 | US | Reissue (Dead Oceans)

Release: 2024 / UK – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-22

Cistern is a rock band from Squamish, BC on the unceded land of the Squamish Nation. The restless souls that make up Cistern, a tight-knit gang of four, are comprised of Noah Varley, Noah Wilson, McKinley Languedoc, and Chris Boys. Cistern play rock music like the best bands formed at the periphery: raw, scrappy, intuitive – a group of friends forging awe and anguish into song. As Ursula Le Guin wrote in her Carrier Bag Theory of Fiction, “it’s a strange realism for a strange reality.”

Following debut album Head Full Of Questions earlier this year, Cistern's most recent release is New Standard. Languedoc stumbled upon a different tuning, jokingly rebranding it as “new standard tuning", and somehow, the gag stuck. On “Crisis”, the band tries to make sense of the tangle of personalities. “Metal Detector” unravels as a hymn for those who have chosen to march to their own peculiar beat. “Pendulum” is high-wire, jittery and tense, a song about seeking balance in a world that won’t let you achieve it. The record is a 5 track display of DIY-rock anthem recorded on an 8 track tape machine.

Cistern is a band defined by tight musicianship, harmonious and dissonant instrumentation, do-it-yourself recording and experimentation. With the band already wading knee-deep into the musical chapter that will follow, expect more saturated, tape-warmth dance riffs to come.

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Citay

Remixes

LP | 2023 | US | Original (Run For Cover)

Release: 2009 / US – Reissue

Genre: Rock & Indie

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This was unexpected. Citay's 2007 album Little Kingdom made reference to everything from Thin Lizzy and acoustic Led Zeppelin, to Popul Vuh and early Mike Oldfield. So, when theband started asking remixers to rework tracks from Little Kingdom, we were more than a little surprised. As it turns out, the world needs Citay's Remixes. From the ambient textures of White Rainbows' "Eye on Dollar" remix to Cornershop'sAnthony Saffery adding sitar and percussion to "First Fantasy," these are anything but typical remix rave-ups. These Are Powers' Brenmar (aka Bill Salas) gives "Moonburn" a playful,skittering treatment, while BlackMountains' SteveMcBeam adds his effected vocals to "Former Child" - the end result sounding more likeMetallica than like Aphex Twin.While some remixesuse the Citay originals as a foundation for embellishments, others simply take the audio as found sounds and sourcematerial. Either way, the reinterpretations of Citay'smusic on Remixes is surprising and eye-opening. Released on vinyl LP, Remixes is theCitay album we never thought we would hear.

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Citizen

Calling The Dogs

Release: 2023 / US – Original

Genre: Rock & Indie

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Life In Your Glass World Clear Vinyl Edition

Citizen

LP | 2021 | US | Reissue (Run For Cover)

Trapped In A Parking Garage

Release: 2021 / US – Reissue

Genre: Rock & Indie

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Citizen returns with Life In Your Glass World, the band's fourth full-length album this August. Since forming in 2009 the band has undergone several different transformations - from the angsty adolescent catharsis of their Run For Cover Recordsdebut album Youth to the intense followup in 2015 Everybody is Going to Heaven, and even more recently with 2017's As You Please, an album that took Citizen's songwriting to new highs. Life In Your Glass World continues that metamorphosis - thearrangements, instrument tone and tempo from the first moments of album leadoff track "Death Dance Approximately" demonstrate a new way forward for Citizen's unique strand of modern alt-rock.

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Citric Dummies

7" | 2024 | US | Original (Feel It)

17,99 €*

Sentiment Light Spotting Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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"Jeff Goldblum takes a deep breath and initiates the teleportation sequence, unaware that lurking in the corner of the telepod are three greasy eighth grade boys quoting their favorite lines from Kids In The Hall sketches. The sequence initiates; a crack of static; a horrible flash of white hot light. Dramatically backlit and shrouded in fog, what emerges from the adjacent telepod is not so much man-child as teenage lobotomy. The camera jumps to a tight shot on the receding hairlines of three dumb assholes: “Look out world…” they whisper with an off-putting wink into the camera. “I’m eatin’ Arby’s.”

This is the Citric Dummies and that is a reference to their song lyrics! Yes, you do not have to ask: this shit is dumb. Lyrics like “I'm driving a piece of shit because I am a piece of shit” dumb. I hear fear in their voices: this is both a reference to Lee Ving’s phlegm and the fact this band is naked and lost in a parking garage, “A traffic cone used for modesty (It’s not a giant orange dick, you see)”. But unlike Fear, this band does not hate you, for they are too busy hating themselves. “Fuck you!” you yell at them, and they know why.

When you see these Citric Dummies (and oh, you simply must!), you will notice their jackets—matching in satin, unique in color. A bassist in green satin, like a lime, and bald (not unlike a lime…). Guitarist? In lemon yellow; he has a regular amount of hair. And that drummer on the drums, the one with the most hair of all? Orange! What we have here is a band who visually tastes like an orange 7Up if such a dumb thing were a thing.

And this band plays: fast! Fuck! Live, it’s fast-as-fuck-oh-fuck-this-is-fast. Dean Dirg is there playing fast, and The Hives, because we love the Hives and know their roots are of the same raw Swedish garage milieu as the Hellacopters and Henry Fiat's Open Sore. “It’s too rock ‘n roll for hardcore, too hardcore for rock ‘n roll,” you may say (because you yourself may be dumb). Is this what is called…punk? Yes! That’s it! Maybe this is punk, you dumbass.

Oh no! I’ve forgotten the best part of all! You don’t have to just read about the Citric Dummies, you can hear the Citric Dummies. You can even have the Citric Dummies!—on a new 4-song 7” out on Feel It! And I forgot the other best part of all! They are soon touring Europe with Erik Nervous! So rock over London, and rock on Chicago, because Citric Dummies are a band from Minneapolis, and I don’t care who knows it!"—Brendan Wells

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Claire Rousay

LP | 2024 | US | Original (Thrill Jockey)

34,99 €*