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White Vinyl Edition

Now also available on vinyl! Founded by Lebanese visual artist and musician Raed Yassin and Swiss musician Paed Conca, PRAED offers a mind bending mixture of Arabic popular music, psychedelic rock, free jazz, space jazz and electronics. Truly hallucinatory!

The faces behind Yesterday's Breed are two 'older' guys who should know better than jumping around, sounding like frustrated teenagers with urgent needs, but they can't help it. They really like the stuff from America's '60s garage-scene, which is showcased by these haircurling ballads, floating popsike outings, poundering fuzz-rocking dancetunes, folky jingle-jangle guitar tunes, smooth vocals and swirling organ parts.

Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that’s equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic a proper reissue. Audio restoration by Anders Peterson. Insert is packed with info thanks to Nick Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent—and perhaps most unlikely—psychedelic groups to ever record an album.

/ gold mine gutted James Figurine remix...Achtung:offizielle Fehlpressung!entgegen der Tracklist auf dem Cover und den Labels gibts hier:
a: Gold mine gutted Album Version /
b: Easy lucky free Hot Chip Remix

Les Big Byrd are now preparing to unleash their debut full length release, “They Worshipped Cats”, on Anton Newcombe’s A Records. Anton has co written & plays 2 tracks on the album. They are supporting the Brian Jonestown Massacre on their European tour. When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded.

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.

Received a 7.5 rating from Pitchfork.

Vetiver grows in a “less is more” chaparral where simplicity offers ample room to wander. Strongly fertilized by traditional acoustic music, and more subtly cross-pollinated by the sparseness of “minimalism,” with its bare suggestions of melodies that the listener fills in for himself, Vetiver gracefully navigates folk and pop savannas with ease. Chief songwriter Andy Cabic grew up in northern Virginia and spent a few years in Greensboro, North Carolina, playing guitar and writing music as a member of the Raymond Brake, whose 1995 full-length, Piles of Dirty Winters (Simple Machines), melded experimental rock sensibilities with bright melodic touches of classic pop. After moving to San Francisco, Cabic enlisted violinist Jim Gaylord and cellist Alissa Anderson, along with Young God recording artist and troubadour du jour Devendra Banhart, who shares co-writing credits on “Los Pajaros del Rio” and “Amour Fou” and contributes guitar and vocals to the album. Anderson made the near-random acquaintance of My Bloody Valentine’s Colm O’Ciosoig, and he ended up playing drums on “Luna Sea” and “On a Nerve,” which brought along with it vocals on “Angels’ Share” courtesy of Mazzy Star’s Hope Sandoval. “Amerilie” features the harp-playing of Joanna Newsom, Craig Koozer plays bass on “Amour Fou,” and Nick Holdzkom piano on “Luna Sea.” The album was recorded whenever and where ever possible — including various living rooms throughout the Bay Area — by Tom Monahan, who squeezed in production duties around Pernice Bros. tour obligations, sometimes working on mixes on his laptop and sending them to Cabic from the road.


• Includes guests Devendra Banhart, Colm O’Ciosoig (My Bloody Valentine), Hope Sandoval (Mazzy Star), Joanna Newsom, and others
• Press via Howlin’ Wuelf Media
• Month-long cross-country tour beginning June 4 with Banhart and Newsom
• Devendra Banhart is in the band... at times. Lots of cross pollination
• Intensive retail marketing
• Extensive print advertising.

Crime In Australia follows 2022's The Real Work, the firstParty Dozen record that (some) people were actuallywaiting for; the one that Nick Cave sang on; the one thathad a track that billy woods jumped on for a rework; theone that took them to the USA, Europe (twice), Japan,China and New Zealand; the one that saw Party Dozenhook up with a cool US label (Temporary Residence Ltd.);the one that made Bandcamp, Stereogum, BrooklynVegan and a whole swathe of Australian radio stationsdeclare it their Album of the Day/Week/Epoch; and theone that made KEXP invite the band in for a live session,and made Sub Pop add to their hallowed Singles Club.The Real Work was not the first Party Dozen record, butit was in many ways where Party Dozen really started toput it all together. Crime In Australia continues to build ontheir arc, and elevates their ascent with a slew of newsongs that are simultaneously more focused and moreferal than anything they've ever done. And there are noguests on this one.

Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into Ac/dc. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”

For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for Esmb on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the Esmb vibe.

“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”

According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.

Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random

shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”

With percolating synthesizer arpeggios, and climbing bass grooves, “idks” is the album’s dance-floor slapper. “’idks’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”

Lyrically, “idks” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”

With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

Since 2018, Vancouver BC’s jangle-pop meets riot-twee trio WUT have been making a local name for themselves with their joyfully heartfelt live performances. In 2020, the trio released NOW, an energetic cassette accompanied by 10 DIY music videos. These earnest and often humorous videos reflect WUT’s playful yet sincere songwriting. Recently, WUT recorded Mingling With The Thorns, their sophomore full-length album. Mingling With The Thorns was created during two years of intermittent quarantines which caused guitarist Kaity McWhinney (Knife Pleats / Love Cuts), bassist Tracey Vath (Knife Pleats / Love Cuts), and drummer Lauren Smith (Tough Age / Jock Tears), to write songs independently, and share their ideas through countless emails, dropbox folders, and google drives. Long periods of isolation were consumed by experimentation with different arrangements, and often an idea would be re-worked over and over (and over) again. This resulted in a collection of carefully crafted pop songs that reflect the bands mutual love for c86 jangle pop and early Flying Nun Records bands. McWhinney’s longtime friend and musical collaborator, Christina Riley (Artsick, / Burnt Palms) joins WUT on the track “Your Feelings”, which pushes the band into the realms of garage rock with her raw and frenetic lead guitar. On a surface level, Mingling With The Thorns may seem fun and carefree. However, a dig deeper into the album’s lyrical content draws up themes that grapple with patriarchy and late stage capitalism; specifically the struggle to find personal autonomy within these social systems.

Trailer Bride's 1996 self-titled record is a long-lost relic of the blooming Chapel Hill, North Carolina music scene of the '90s. Superchunk, Polvo, Archers of Loaf and other indie rock darlings were leading the town's indie rock movement while Southern Culture on the Skids were pushing the alt-country genre forward. Then comes Trailer Bride who combined both of those worlds with a gothic, lo-fi sound that centers around Melissa Swingle's atmospheric vocals and cryptic lyrics. Swingle started Trailer Bride following the demise of her band Pussy Teeth and would later go on to form the indie rock duo The Moaners with Laura King (Bat Fangs, Speed Stick), but the dark, southern sound that defines Trailer Bride's debut record provides a mystifying listening experience a quarter-century later. No Depression said it best in their 1997 review: "They're impossible to describe, but whatever you wanna call it, they sound really good." The album is available for the first time ever on vinyl for Record Store Day Black Friday 2022. This 25th anniversary edition is pressed on cloudy orange vinyl and remastered for vinyl. Limited to 1,500 copies worldwide.

Lime green vinyl

Blue vinyl

Includes insert. Cover close to NM

Limited Edition, White Vinyl, 180g

Sealed copy.
Cover corners slightly dented.

Recorded live under moonlit desert skies while the world sheltered away. Chris Robinson led a cosmic cast of California friends through the catalog of the CRB along with songs from Beachwood Sparks and other hand-picked revivals.

Featuring Chris Robinson, Brent Rademaker (Beachwood Sparks, GospelbeacH), Farmer Dave Scher (Beachwood Sparks, Farmer Dave and the Wizards of the West, The Skiffle Players), Ben Knight (Beachwood Sparks, Farmer Dave and the Wizards of the West), Camilla Saufley (Assemble Head in Sunburst Sound), Barry Sless (David Nelson Band, Moonalice, Bob Weir & Wolf Bros), and Alex Koford (The Terrapin Family Band, Grateful Shred).

Party Pest features ex-The Reprobettes members Jemma Jives (drums & vox) and Sally Balhorn (guitar & vox) alongside bass player Julia Watt (Moody Beaches, La Bastard, Hot Wings) and Kate Alexander on synth (Ute Root, The Hot Blood).Unpredictable and chaotic, Party Pest is influenced by artists such as The Slits, ESG, Kleenex, The Cure and The B52's. On Uninvited, Party Pest channel post-punk irreverence, blending discordant melodies, jangly guitar hooks, wild primal drumbeats, big bold bass grooves and synthesised sonic mayhem into a celebration of life as they know it.Anything can and does happen when Party Pest play so strap in for a wild ride whether you're invited or not. When the glitter settles, the Ajax's been snorted and your Mum's been pashed, wipe the love dust from your eyes and check your bathtub.

Machine Ronde celebrates guitars. The roots of black musicmusic. The roots of rock. Blues. And even country musicof "En découdre", one of the ten tracks on this devilish fourthalbum. This warm, round galette (sic) was recorded and mixed in justbetween June 2022 and spring 2023 under the guidance of guitaristguitarist and grand sorcerer Yan Péchin (Alain Bashung, Hubert-FélixThiéfaine, Brigitte Fontaine), composer of the ten songs. With themusicians of the late author of L'Imprudence, including bassistbassist Bobby Jacky and Arnaud Dieterlen. We almost forget to mentionmention that Machine Ronde was mixed in Paris by Jean-CharlesVersari (Warren Ellis, Erica Nockalls, Oiseaux-Tempêtes...) and mastered in Londonin London by Pete Maher (U2, The Pixies, Nick Cave...). And that theblack and white cover is by Lara Herbinia, photographer andHerbinia, photographer and Bertier's female voice.

Black vinyl, DL card. Bardo Pond’s extensive archive recordings series opens up once again with 'Volume 9', an incisive journey into their hypnotic sound. Recorded in the early 2000’s it’s a heady mix of acoustic ambience and menacing distortion. Infamous purveyors of longform stoner rock, Bardo Pond embrace their sludgestorms with graceful nods to Hawkwind, Earth and my bloody valentine. For anyone uninitiated with the band’s tranquilizing sound, Volume 9 leans into their mesmeric practise with reckless abandon. Featuring two tracks recorded with ace percussionist Michael Zanghi (Kurt Vile/The War On Drugs) and the seminal two parter ‘War Is Over’, a lilting Floydian strum that’s invaded – quite literally – by unreconstructed noise. The Zanghi collaboration is an Eastern-facing mantra with percussive flurries and distorted modal shifts – like listening on the other side of feedback.

With insert. Cover and vinyl are close to NM