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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?

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.

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

/ 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

With the downtime of the past 2 years I've been writing a lot. As sort of a little songwriting challenge every once in a while I’d write some Ramonescore tunes. It's almost a concept album in that sense. Most of these songs were written in 2020/2021 but a couple are some of my first attempts at songwriting circa 2004! I was originally going to release this under an alias but decided to just make it a Brad Marino album on the advice of some people whose opinion I trust. It's different than "Looking for Trouble" and "Extra Credit" but It's all rock and roll to me... NO Upstrokes Were Used IN THE Making OF This Record

Bart & THE Bedazzled: People Person + Carboard MAN (7") Bart & The Bedazzled return with a sensational AA-side 45 with the highlife-vibed-plaintive pop of 'People Person' and the layered 'Cardboard Man', featuring the gorgeous guest vocals of Earth Girl Helen Brown. "World dance pop meets '80s indie" LA's northeast side is home to a dizzying number of independent artists and bands. One of the scene's most distinctive sounds emanates from Bart & The Bedazzled, a collaborative group led by talented songwriter Bart Davenport. After debuting in 2018 with the Blue Motel album Bart reconnects with the stellar musicians that make up the Bedazzled for two exclusive new songs of, what he terms, "world dance pop meets 80s indie". Consisting of Los Angeles' highly respected players, the collective are undoubtedly a "musicians' band" playing for joy, performing for and with other artists that inhabit underground haunts such as Zebulon or Permanent Records Roadhouse. This is their sound! With these new tracks The Bedazzled usher in a new phase, adding a small dose of drum machinery to the mix, resulting in an uplifting, danceable endeavour. On top of this, hand played congas and shakers blend with ultra clean guitars to form a rich context for Bart Davenport's patented, smooth vocal. Newcomer band member and producer Nic Hessler (Catwalk, Captured Tracks) fits these pieces together in seamless mixes. People Person celebrates the collective human experience, while subtly acknowledging that people often are "the worst". It's an upbeat ode to a beautiful world that sadly may never be saved. Meanwhile, the semi-fictional Cardboard Man critiques a society desperate for truth and a way out of dark times only to find omnipresent, puppet-like heroes offering nothing real. Featuring guest singer Heidi Alexander aka Earth Girl Helen Brown her distinctive tone and phrasing add a much needed weirdo energy to a decidedly consonant pop track. It comes as no surprise the group have gravitated towards world-dance-ish sounds. Andrés Renteria is an accomplished crate-digger and DJ, as is bassist Jessica Espeleta. She kicks off People Person with a dubby bass line, setting the stage for Wayne Faler's African highlife inspired guitars. It's still Bart & The Bedazzled, but this time they come with a sound somewhat reminiscent of '80s bands that also incorporated international flavors, such as the post Young Marble Giants project Weekend or French electro-obscuros Antena. Like those bands, Bart & The Bedazzled have a wide range of influences and the artistic intention to make something contemporary with them. Above all, they're a group of friends who enjoy the creative process together. For them the journey is as important as the finished work.

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

For Fans Of The Buffalo Killers, The Black Keys, Neil Young & Crazy Horse.From The Ashes Of The Acclaimed Ohio Rock Band Buffalo Killers, Singers/Songwriters/Siblings Zachary And Andy Gabbard Have Re-Emerged As The Gabbard Brothers. And While There Are Still Similarities To Their Previous Band, With Nods To Greats Like Neil Young, James Gang And Buffalo Springfield, There's A Hazier, Organic, Earthy-Psych Vibe Running Through The Brothers' New Music.Fresh From Their Black Keys Tour (Zachary And Andy Are Current Bassist And Guitarist, Respectively, In The Keys' Expanded Tour Group), The Gabbard Bros. Are Releasing Their Debut Single 'Sell Your Gun Buy A Guitar' Via Colemine Records' Imprint Karma Chief, Which Citybeat Music Editor Mike Breen Called A "Great '60s-Flavored Pop Nugget." The B-Side, 'Too Much To Feel' - A Musical Middle Finger To The Bigots, Racists And Folks Holding On To An Old, Outdated Way Of Thinking. This New Single Will Be Included In Their Forthcoming Debut Studio Album.

The long awaited debut full length from Ghost Party Is finally here! The album is titled Afterlife Of The Party and judging by its title, you know you’re in for a good time. Ghost Party is a pop punk supergroup that specializes in writing songs about having fun, horror movies, beer, girls, beer, pizza rolls and beer. You might think that the singer’s voice sounds familiar and that’s because it probably Is, as it’s Teflon Dave from the infamous Horror Section on guitar and vocals. The band also features Billy Putz on Bass and backing vocals and Patrick Mcvay on drums, both from The Putz, so you can see where I’m getting that whole pop punk supergroup thing from. This album is for fans of Green Day, Horror Section, The Putz and Mr. T Experience.

From the dark psychedelic shadows of Bergen, Himmellegeme return with their second album “Variola Vera”! Himmellegeme's music is influenced by atmospheric prog rock, which together combine to create an otherworldly and timeless sound. With their heavy-hitting riffs, chilling melodies and melancholic lyrics, Himmellegeme creates music that depicts past events in their own lives, as well as in the lives of others. The overall themes of the album are the impact we humans have on planet earth, and the destruction we lay in our wake wherever we go. Not only in regards to the planet itself, but also to the people inhabiting it. It’s not a concept album per se - the lyrics are fictional with roots in reality, but based on newer and older events seen from different viewpoints. Their debut album “Myth of Earth” received rave reviews around the globe, and Prog Magazine said that “Aleksander Vormestrand has a high, clear voice full of unfulfilled yearning, akin to Thom Yorke when Radiohead still cared about melodies, matched by the soaring lead guitar of Hein Alexander Olson.” Variola Vera was recorded at one of Bergen's top studios, Broen Studios, and was produced by Anders Bjelland (Electric Eye / Hypertext) who also worked as a sonic wizard on the album.

For Fans Of The Buffalo Killers, The Black Keys, Neil Young & Crazy Horse.From The Ashes Of The Acclaimed Ohio Rock Band Buffalo Killers, Singers/Songwriters/Siblings Zachary And Andy Gabbard Have Re-Emerged As The Gabbard Brothers. And While There Are Still Similarities To Their Previous Band, With Nods To Greats Like Neil Young, James Gang And Buffalo Springfield, There's A Hazier, Organic, Earthy-Psych Vibe Running Through The Brothers' New Music.Fresh From Their Black Keys Tour (Zachary And Andy Are Current Bassist And Guitarist, Respectively, In The Keys' Expanded Tour Group), The Gabbard Bros. Are Releasing Their Debut Single 'Sell Your Gun Buy A Guitar' Via Colemine Records' Imprint Karma Chief, Which Citybeat Music Editor Mike Breen Called A "Great '60s-Flavored Pop Nugget." The B-Side, 'Too Much To Feel' - A Musical Middle Finger To The Bigots, Racists And Folks Holding On To An Old, Outdated Way Of Thinking. This New Single Will Be Included In Their Forthcoming Debut Studio Album.

CD comes in a soft case, instead of the original crystal case. All booklets included.

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

White Vinyl.
One cover corner is slightly dented.

Lime green vinyl

CD comes in a soft case, instead of the original crystal case. All booklets included.

CD comes in a soft case, instead of the original crystal case. All booklets included.

CD comes in a soft case, instead of the original crystal case. All booklets included.

With OIS. Copy closer to NM