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In 2015, Cico Beck ( Joasihno, Aloa Input, the Notwist ) and Markus Acher ( the Notwist, Tied & Tickled Trio, Rayon ) started the project "You + Your D.Metal Friend" as a collective for improvisations and ideas apart from their other bands.

They will experiment with different settings and instrumentations and will collaborate with other artists for the music and the cover-artwork.

For "Sonnier", their first recordings, Cico and Markus started with percussion instruments from around the globe, analogue synthesizers and all kinds of acoustic and electronic devices to layer music that sounds like the memory of Gamelan, Italian library-records and minimal electronic experimentation... music, they listened to a lot before recording.

"Sonnier" will be available on vinyl (incl. download-code), limited to 300 for the world, and will not be repressed. Packaged in heavy-cardboard-LP-covers from second-hand records, they collected from their local record-stores with a screen-printed and numbered artwork glued on it. Designed by Richard Greenan from kit-records, London, and printed by Senor Burns (Red Can). Each cover is unique and hand numbered.

Lime green vinyl

Yea-ming AND THE Rumours swing, shimmer, and whisper through a confessional map of the landscape of heartbreak on their new album, So, Bird… Yea-Ming Chen has a distinctive, whispery alto that delivers the kind of confident melancholy—a matter-of-factness about her own emotional ghosts—that shows itself in varying opacities, from psychedelic dream-logic to the nakedness of a psychotherapist’s notepad. Touching on everything from American indie pop, twee and jangle pop to country, folk, and even a bit of Brill Building pop, So, Bird... offers 11 more broken hearted songs to fall to pieces over. The perfect record for solo adventures and long drives with no specific destination. The Oakland based four piece features Yea-Ming Chen on vocals, guitar and keys, Anna Hillburg on bass and backing vocals, Eoin P. Galvin on guitar and lap steel and Sonia Hayden on drums. Chen and Hillburg have been playing together since their college indie pop group, Dream Date. So, Bird... is their second album following their self released digital album I Will Make You Mine and their self released 7" single Baby Blue.

I Can’t Have It All is the third studio album by Yea-Ming and The Rumours and marks a new line-up and creative era for the band. Frontwoman Yea-Ming Chen has masterfully curated her self-proclaimed “pop record.” Weaving melancholy narratives with catchy hooks in a sound that is more surfy, more punk and more indie than anything the Rumours have done before. Fuller sounding production heavily influenced by groups like Yo La Tengo, Camera Obscura and other early '90s underground college radio favorites, I Can’t Have It All marks the band’s continued evolution.

Alongside the usual beautiful imagery, Yea-Ming’s songwriting remains as introspective as ever, but I Can’t Have It All marks a changing point both creatively and personally in the songstress’ life. Written during a difficult period in which she struggled to identify and painfully shed a “false-self" imposed by the outside world, the album follows the personal and relatable journey of accepting loss and making changes. “I realized one day that I have spent most of my life pretending to be someone that other people wanted me to be, and that was probably the source of my anxiety and depression.” Recalls the songwriter. “So I made changes that were really hard and I experienced a lot of grief in letting go of people and situations that held a lot of power over me emotionally—even if it wasn’t intentional—and I became someone that is closer to who I want to be. In that transition, I discovered that it is completely possible to experience total sadness and extreme happiness simultaneously within the same body." These complicated feelings are clearly reflected in the new record—especially in ‘Pretending’, ‘Somebody’s Daughter’, ‘I Can’t Have It All' and ‘Ruby’.

The title track and the first single, “I Can’t Have It All”, describes the ugly journey of accepting unrequited love. Brutally honest and painful, the narrator confesses to finding solace in a night of drinking and a stranger in their bed as they accept they can’t have it all. The lyric video features animated drawings offering an innocent and playful take on the somber and sobering realization that everything might not work out in the end and a bit of distraction helps ease the pain.

Produced by Chen, the album was mostly recorded and sculpted in her home studio after basic tracks were recorded with Meric Long (The Dodos) at Tiny Telephone Studios and Mike Walti at Wyldwood Studios. As usual, the record is performed by Yea-Ming with the help of long-time Rumours collaborators Eóin Galvin on lead guitar, lap steel and backing vocals and Sonia Hayden on drums and percussion on several of the tracks. New Rumours members Jen Weisberg (Hits) and Luke Robbins (Latitude) also make their debut and appear on bass and drums throughout the record. I Can’t Have It All is a new album with a new line-up and a new perspective, signifying Yea-Ming and The Rumours’ entry into a new era.

We Are The Ocean's third album 'Maybe Today, Maybe Tomorrow', pressed on vinyl for the first time in celebration of the 10th anniversary of its original release.Limited opaque cream pressing.

"Indonesian rock trio Voice Of Baceprot (vob) have had to weather many challenges after they decided to carve a career in music. With the lack of music-related facilities in their village of Singajaya in Garut, West Java, they had to practically build their own modest practice studio. And they could only get a gig in the nearest city of Garut, three-and-a-half hours away. They had to face more significant adversities, namely the stigmas and unsolicited suggestions regarding religion and decency directed at them.

"You must remember that we come from a village where many see women as inferior to men. After completing high school, we did not have a lot of options. It was either work at home or for a relative at a convenience store. Or marry someone our parents choose," vocalist/guitarist Marsya recalls. It is a mindset that has survived from one generation to the other, even to this day. Hence, garnering support from even their family members became an uphill battle. ""No wonder only the three of us managed to come this far when you consider that VOB started with 15 members in 2014!"" drummer Sitti exclaims.

With all the setbacks that have come from all directions for an extended period, it is no surprise that they have played a massive part in developing VOB's character as a band and as individuals. Rather than dampening their spirits, however, they have moulded the trio to become stronger. "We have become rocks now. Hardened, rigid, and stiff due to all the doctrines in our minds. But through music and our friendship, we became fully aware that they must be cut through and broken regardless," Marsya explains. And from the trials and tribulations that they have had to suffer, VOB chose to name their debut album “Retas”. In Bahasa Indonesia, ""retas"" is ""a body of igneous rocks that breaks through by cutting through other rocks"". It epitomises how the band see themselves: igneous rocks, the end product of the socio-economic challenges that have shaped them into who they are now. ""Retas"" is a collection of songs that embody their solid determination to break free and carve out their path as a band, as musicians, and as independent women. With Ntrl guitarist Coki Bollemeyer at the helm as producer for the newer songs on the album, “Retas” comprises nine tracks, including album focus track “Age Oriented”, fan-favourite “What’s the Holy (Nobel) Today?”, “The Enemy of Earth is You”, instrumental track “Kawani”, and four previous singles that they have released since 2018, including their breakthrough single “School Revolution” and the smash hit “God, Allow Me (Please) to Play Music”. ""We really enjoyed making this album, thanks in no small part to Coki. His support and appreciation towards the hard work we put into the process have made a huge difference. It gave us the energy and confidence to give our very best,"" Marsya acknowledges. Most of the songs have roots since VOB were still in middle school, each immaculately capturing their emotional responses to the variety of experiences they have gone through, transcribed and transformed into a combination of lyrics and melodies feeding off of raw energy and passion. Focus track ""Age Oriented"" is a protest song aimed towards age restriction that they once had to endure because they were playing rock music at such a young age. The piece lays bare their anger as tight and heavy riffs roar atop Sitti's groovy thumping beats and Widi's dexterous basslines. “More often than not, we were told it was ‘inappropriate and too soon’ and we ‘did not have enough experience’. There is a partiality towards age being the main benchmark to determine the merit of one’s artistic work. It meant the young must wait until they reach a certain age deemed worthy of independence to show their true potential,” Marsya remarks. The role of vocal director Irvan Natadiningrat has also become more significant in developing VOB's trademark sound. Take What's the Holy (Nobel) Today?"" for example. Irvan suggested the inclusion of the dramatic marching chant in the song. This powerful addition could make it the anti-war anthem for the modern generation. "The Enemy of Earth is You"" addresses the negative impacts of climate change. Never in their wildest dreams would they expect massive natural disasters to affect their village. Were they simply a show of might by nature's customary dynamics? Or are we, as human beings, to blame for our greed, ignorance, and narcissism? Writing instrumental “Kawani” felt fresh and intriguing for VOB. They had a unique opportunity to express their enthusiasm for Sundanese music, which they likewise hold in high regard. "In Sundanese, 'Kawani' means courage. This song represents the bravery with which we girls have refused to be treated as something ‘sweet and beautiful’. We are greater than that. That courage is reflected in the rhythms' dynamic quality. We may appear to be serene and unruffled, yet we can abruptly change into something else that is challenging to control,” according to Sitti.

Video Age make breezy and timeless songs that are so ine¬able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7".Video Age make breezy and timeless songs that are so ineable,they can only be the result of a decades-long friendship andsongwriting partnership. Across four albums, Ross Farbe and RayMicarelli have gleefully worn their influences on their sleeve,writing inviting tunes that reference sounds ranging from disco topop and indie rock. On their latest LP, Away From The Castle, theNew Orleans duo have strayed from nostalgia and instead havehoned their own unique musicality, making songs that sound likethemselves with a taste of inspiration from classic singer-songwritersof the 60s and 70s. The album is a testament to thepossibilities that come from getting out of your comfort zone, thefreedom of writing vulnerably and unselfconsciously, and the joysof getting to work with your closest companions.After releasing and eventually touring their critically-acclaimedthird album Pleasure Line in 2020, Farbe and Micarelli soughtinspiration for their next project through collaboration. Theyworked with Drugdealer on his album Hiding In Plain Sight,Micarelli gigged throughout New Orleans' jazz and blues scenes,and Farbe recorded local artists at his home studio, most recentlyproducing Esther Rose's new album Safe to Run. Feelingrefreshed, they rented a cabin in Eunice, Louisiana with touringmembers Nick Corson and Duncan Troast, where they spent eightdays in August 2022 jamming, cooking and writing together.Through this process, Video Age have made their best collectionof tracks to date by perfectly alchemizing their influences andexperiences into a record still tinged with nostalgia, but movingtowards a more succinct and authentic voice. Away From TheCastle is a document of a band having fun and rediscovering theirlove for making music together, but it's also their most honest andpersonal work yet-Video Age distilled to its purest form.

On the tribute album Songs for Tres, Psychic Ills band members come together to commemorate the late Tres Warren who passed away just as the world turned upside down in March of 2020. Isolated, feeling helpless and lost by the death of her musical soul mate and collaborator of 18 years, bassist Elizabeth Hart found making music to be her only outlet in a time where people were unable to be physically together to mourn. So, she reached out to Adam Amram, Jon Catfish DeLorme and Brent Cordero, the main players in the Ills line up since the release of their last full length album Inner Journey Out (2016), to ask if they would embark on this cathartic journey with her. This was a different kind of production endeavor for Hart driven solely by "the aching need and urgency" to do something to honor her friend. Keeping the project in the Ills family, Hart produced the album alongside Iván Diaz Mathé, the long-time Psychic Ills sound engineer. The album consists of five original tracks and four cover songs. Initially, learning the covers was just a method for the musicians to "break the ice" and play together again for the first time without their band leader. However, those tracks became just as important to include as the originals because of their essential role in the process of coming together to make the album. The cover songs were chosen because of their unique connections to the band's memories of Warren. Dennis Wilson's "Rainbows" and Fleetwood Mac's "Station Man" come from two of Warren's favorite albums, Pacific Ocean Blue and Kiln House. The band also recorded Blaze Foley's "Clay Pigeons" and Powell St. John's "Right Track Now." The idea for the latter was suggested by Amram. Warren once sent him a clip of Roky Erikson singing a moving rendition of that song in the film Demon Angel and it had stuck with him ever since. Hart wrote "I'll Walk With You" on the day of Warrens' passing, at the time not knowing what it meant. When she got the call with the heartbreaking news, it became clear to her what the song was about. Relying on a gently lilting string arrangement to set the tone, this duet features Mazzy Star vocalist Hope Sandoval alongside Hart. Sandoval previously collaborated with Psychic Ills accompanying Warren on "I Don't Mind" (2016). The ideas for "Home" and "Walk Around," two other songs on the album by Hart, started simply with an acoustic guitar and lyrics, a hopeful exercise to connect with her lost friend. Brent Cordero's instrumental "Whole Lotta Piece of Mind" is nothing short of a transcendental experience. By running his pedal steel through a Leslie speaker, Jon Catfish DeLorme crafts the unique tone showcased on Wonderful Feeling, a moving example of studio experimentation combined with old school techniques. DeLorme describes it as "an attempt to highlight the musical experience I shared with Tres both sonically and thematically. What resulted is the unguarded exaltation I feel lucky to have shared with my fellow bandmates." Adam Amram's "Into the Sea" was composed spontaneously the week Warren passed. The melodic tune has a hopeful lightness and Amram describes it simply as "a song to my brother". Their connection shines through. A majority of the proceeds from the album will be donated to Raices, a charity who aids children who have been displaced at the Texas/Mexico Boarder.

close to NM. With insert

It seems awhile ago, but it wasn"t - not in days and months... whatever time is. But in terms of phases - we"ve been in and out of all kinds of bags since last summer, right? There"s the us before we heard the rest that 2022 had to offer, and then there"s us today. And coming on seven months later, fresh as it still is, "Hello, Hi" is disappearing in the rearview, like everything else that"s going down the road.But July 2022, it was in the headlights, dead ahead. We weren"t there yet, we couldn"t know what it would mean, but we were excited to find out. And in L.A., with the release show at Teragram coming up, Ty and the Freedom Band were working and playing to get it together. There"d be a little acoustic set to open things up, which was something different, so a last minute show was drummed up, for Ty and Emmett to work it out in front of some people. And that kind of became the REAL record release show.Word went out afternoon of the 21st - free show tonight in Highland Park - YEAH! A crowd showed up that evening and crammed in among the vintage clothes to hear some music and share some times. And most of us missed it! But nobody missed it quite like your present scribe did - I went down, stopped in, said hi - my lady-friend bought a hat - and then we split, regretfully, a previous engagement to attend.What suckers we were! This show clearly ruled, just hearing the five songs included here. With the incredible feelings of the crowd and the spontaneous play in the songs we now know from the album almost miraculously captured to tape (by the capturer himself, Mike Kreibel) at FULL WARMTH, none of us can say we missed it at all anymore -- drop the needle and you"re there, at the launching of sounds that added to the evolution of the world we"ve been living in ever since!So that"s the story -- "Hello, Hi", goodbye

The first two volumes of singles and B-sides from Thee Oh Sees. Twenty-four songs including the track “Tidal Wave” featured in TV’s gnarly Breaking Bad.

It's no secret that John Dwyer and Thee Oh Sees put out a ton of stuff. Not just full-lengths—of which there are many—but singles, split releases, compilations and even books. The dude cooks in many kitchens, but the sauce is always tasty.

Castle Face is proud to continue their tradition of occasionally corralling these rarer gems onto the convenient LP format. For even the most insane Oh Sees collectors, the inclusion of an unreleased, mutated live version of “Block of Ice” makes this a must-have. To sweeten the deal, the tunes have been gussied up ever-so-slightly to knock you nightly, and the incredible tritone artwork by Shalo P is printed on blinding silver-foil jackets.

Here we have a new batch from Thee Oh Sees for your absorption—nine muscular tunes primed to pummel. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back; Mutilator Defeated at Last has more in common with the monolithic hugeness of Floating Coffin. With only two brief reprieves from its onslaught, this record is made to be played loudly and demands bodily sacrifice. Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous. Synths and acoustic guitars wind throughout the album like veins of gold through granite. Any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best.

Thee Oh Sees (ocs) began as songwriter / singer / guitarist John Dwyer's outlet for the experimental instrumentals he was producing in his home studio. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late '90s, working with The Coachwhips, Hospitals, Pink & Brown, Yikes, Dig That Body Up It's Alive, and Swords & Sandals, among others. He formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided on any given day) to release a string of soundscapes and moody pieces that were decidedly lower key than his previous projects. In time, OCS morphed into an actual band, working under a flurry of names (most notably the Oh Sees or the Ohsees) and eventually settling on Thee Oh Sees. Sounding a bit like The Mamas & The Papas run through a seriously bent garage blender, this line-up features Dwyer on guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit on bass, and Mike Shoun on drums. The band signed with the German Tomlab label and released The Master's Bedroom Is Worth Spending a Night In in 2008. This record marked the first recorded appearance of the newly harder rocking version of the band and was immediately met with an enthusiastic response by fans and rock scribes. It went out of print after its initial pressing sold out quickly, and In The Red is pleased to announce the re-release of this incredible album on vinyl. Music like this is best enjoyed when spun on a turntable, and the gorgeous cover art can only be properly appreciated at 12 inches by 12 inches.

Perched in the belfry of The Chapel we caught thee mighty Oh Sees, alive and in their natural element, with our shutters aflutter and our tapes on a roll. After a short incubation period, the beast has reached full maturity and it is hideous. Over three nights they pummeled, and we’ve culled some great photographs, a wicked recording, and even a little live video action. Castle Face is happy to announce the first double LP in the Live in San Francisco series, presented on two discs, in a handsome double gatefold jacket, with live video shot by Brian Lee Hughes, Casey Anderson and their crew of merry gentlemen on an included DVD. Finally you depraved Oh Sees freaks have something to take home with you when you lose your shoes and your girlfriend at the show. Put it on at home and pretend to wait in line for the bathroom and it’s like you’re really there. The thrash, the throb, the mob is all present and pushed to the front. Dual drummers synced in each ear, Tim Hellman rounding out the bottom and Castle Face’s own John Dwyer up front on guitar, lasering young brains off and fomenting the crowd to a froth—it’s a great band, in a great room, with a great crowd and it’s cooked to perfection… Take a little bit of it with you this time.

Reissued extremeley limited, long out-of-print EP from long-running garage rock band’s early formative period in San Francisco! Encased in a brown paper wrapping like a forgotten bit of smut from behind the beaded curtain, this unassuming disc is a time-capsule back to John Dwyer’s early SF days, janglingly fingerpicked wisps of melody and electronics baking in the all-too anemic sunshine of San Francisco’s elusive summer. Like a seashell to the ear, one can hear within it Baker Beach bike ride excursions, holding court and gently harassing passers-by on a Haight street stoop, and midnight rambles with friends from out of town, daring the sun to come up. Somewhere chronologically between the folky whisper of Songs About Death And Dying and the recently reissued Cool Death Of Island Raiders, this one’s been vexing to find for way too long and Castle Face has decided to give it “the treatment”. May it awaken the gentle glow of possibility dappled with the dancing shadow of danger that it stirs around this castle.

From the same misty mountain top tape spool as August’s A Weird Exits, Thee Oh Sees bring us a companion LP titled An Odd Entrances. Delving more towards the contemplative side than the face-skinning aspects of A Weird Exits, An Odd Entrances is a cosmic exercise en plein aire with Dwyer and co double drum shuffling, lounging with cellos, following a flute around the groove, and spooling a few Grimm-dark lullabies along the way. Lurking in the grass are a snake or two, like the celestial facing instrumental buzz of Unwrap The Fiend Pt. 1…but for the most part this is a relatively hushed affair, a morning rather than evening listen perhaps. You could say it's the sound of Dwyer and co. going even more out there with some amazing smoked out grooves and enjoying the power of repetition. Probably the nearest yet to his solo Damaged Bug output. The band plans on donating half of their profits from the first pressing to Elizabeth House, a local charity here in Pasadena that specifically helps homeless women with children from the San Gabriel Valley get back on their feet.

Received a 7.5 rating from Pitchfork. Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines. The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to head-splitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum-sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smoke-soaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality. With amazing visuals (including a side-D etching by airbrush-van-art maestro Robert Beatty) and packed in vape-proof goatskin, it’s a beast and, come August 12th, it can be yours should you so choose.

Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines.

The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to head-splitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum-sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smoke-soaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality.

Thank You For Being Here is a new live album by The World Is A Beautiful Place & I am No Longer Afraid To Die and is a companion piece to a feature length documentary film of the same name. After multiple delays, the seven-piece band from Connecticut set out on the road (in a Van!) in Fall 2021 for a five -week tour to support their critically acclaimed new album, Illusory Walls. They brought with them a documentary filmmaker and audio engineer to capture the adventures. This collection of songs features fan favorites from the band"s catalog along with a deep dive into their latest studio album. Brooklyn Vegan raves, "..it"s no surprise that the band sounded super tight during all the new songs, and these songs really came alive on stage the way TWIABP"s best songs always have. Everybody was locked in and sounded massive." In Fall of 2021, for a brief moment the world of club touring in the US and Canada opened up again with the world seeming slightly more normal. Post pan?demic touring was different; aside from the moving of gear and crew, you had the challenges of keeping everyone healthy. Proof of vaccinations, masking and covid testing became as much a part of the show day as soundchecks. Thank You For Being Here, the film, gives you an inside look at the realities of touring as an Independent musician and the struggle of touring in the time of COVID.

Clear flexi vinyl.

Clear Blue with Braun-Green Splatter vinyl.

Still in shrink, but opened, with hype sticker

On 6th July 2019, The Who headlined a sell out show at the world famous Wembley Stadium in London for the first time in forty years. Performing many of their greatest hits, the show featured the band as they’ve never been seen before, accompanied by the 57-piece Isobel Griffiths Ltd orchestra.

The Who With Orchestra Live At Wembley re-lives that iconic show. Available as a triple black vinyl 3LP set with a booklet showcasing unseen photos from the show.

180 gram vinyl.

Cover as new with slightly worn corners.
Includes original inner sleeves.

Includes postcard and poster. Impossibly rare 1984 UK 7” vinyl single, written by a pre- Bachelor Pad’s Martin Cotter. One of only three releases by the short-lived Glasgow based indie label Bogaten, although redolant of early Orange Juice in the sound of the A-side, also looks forward to Shoegaze, with a reverb-drenched cover of The Velvet Underground’s Waiting For My Man on the B-side

... incl. coupon for free download of the entire album

Includes sticker.

The Oh Hellos' Family Christmas Album: Volume Il came to exist in what has now become the typical writing and recording process for the Heath siblings: an interesting but straightforward initial idea that rapidly spins out of control.Not content with only releasing a single to commemorate the ten year anniversary of their first holiday EP, The Oh Hellos pulled inspiration from song arrangements performed on previous tours, medieval motets, moody yuletide carols predating the comfortable glow of mid-20th century nostalgia, and family-holiday-gathering traditions we love to pretend to hate. Now available on limited edition, 10" Vinyl, presented in bespoke parcel packaging.

1000 Pressed. Ltd Double Black vinyl, DL card. Out Of True, the shock comeback album by the Nightingales, was originally released more than a decade after Robert Lloyd's strange major label foray. Now getting the recognition the band deserve, following the critical success of The Nightingales documentary King Rocker (Stewart Lee), this 2006 comeback record is available on vinyl for the very first time. Spread across two LPs, with over an hour of banging tunes, this is an essential piece of the band's history and is packaged with liner notes from Robert Lloyd and a bonus download of the "What's Not To Love" EP.

Classic Double Black Vinyl, DL card. The Nightingales' last original full-length for two decades stands as the final masterpiece postpunk album released before the C86 era. Back on vinyl for the first time in over 3 decades, the reissue is updated to include the whole of the 1985's 7" single "It's A Cracker" and "What A Carry On" 12" EP, plus a clutch of rare tracks never before released on vinyl and a bit of history from Robert Lloyd. Despondently anti-Thatcher and with an air of hopelessness, In The Good Old Country Way has the sense that time was allowed for experimentation and reflection during its creation. Expectations were high as The Nightingales released their sole Vindaloo album and possibly the most underrated album of the postpunk era. The opening number is heavy on the hoedown, not unlike records their pals The Mekons would release around the same time - a rootsy underlayment to songs of wit, energy and observation, adaptable both to lengthy groove-based observation and high-octane rants alike. Maria Smith's violin weaves in and out of songs, while the rhythm section of Pete Jenner (bass) and Ron Collins (drums) hold what might have been a disjointed mess, but it's multi-instrumentalist / arranger Pete Byrchmore who shares the spotlight with Lloyd. "It's A Cracker" stuns, not stylistically dissimilar to their recent records for the first ninety seconds, though featuring a bridge hinting at new developments in their sound which could be heard on the next Nightingales release, 'What A Carry On'. A sublime record, it features the powerful title track in two version, one of the band's best songs, "Comfort And Joy", and the tenderly alienating "First My Job". "Lloyd's cracked it. A fucking good album." Mark E. Smith, The Fall.

Limited Edition for Record Store Day 2022.

The Lo Yo Yo"s only album from 1985 for the first time reissued on vinyl. Featuring Mick Hobbs (The Work, Half Japanese) and Alig Fodder (Family Fodder), produced by Charles Bullen (This Heat). Limited to 500 copies worldwide.The Lo Yo Yo was founded in 1984 by Family Fodder"s John Pearce, aka Alig Fodder. They were active for two years and released one cassette, one split cassette with French band Look De Bouk and one full-length LP. The Lo Yo Yo"s line-up went through changes over its whole lifetime, but with some constants - most notably singer Joey Stack and drummer Carrie Brooks. Charles Bullen of This Heat occasionally played drums with Family Fodder and produced The Lo Yo Yo"s LP Extra Weapons in 1985. Alig says "It was impossible not to get together. In this era it was quasi compulsory to get a band together with your mates. It was normal to be left-wing, inclusive, anti-racist, anti-sexist, anti-homophobic and in opposition. And to form a band, with or without experience. It started as a rhythm section: Carrie on drums and myself on bass. She brought a mate along (Joey Stack) and so did I (Mick Hobbs)."Pearce"s punchy bass playing and Carrie Brooks" hard-hitting drumming form the backbone of The Lo Yo Yo sound, with Jo"s singing and keyboard sitting firmly on top. It was made complete with Mick Hobbs on guitar and percussion, and the addition of cellist Annie Hunt.

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

For Fans of The Guess Who, Bachman-Turner Overdrive, and Classic Rock! The Guess Who is a legendary Canadian band who enjoyed chart-topping hits in the late 60s and early 70s with an impressive catalogue of songs including "American Woman," "These Eyes," and "No Time." During the course of its career, the band has released 11 studio albums, all of which charted in Canada and the United States. The Guess Who is best known internationally for its 1970 album, American Woman, which hit number one in Canada and number nine in the United States, with five other albums also hitting the top ten in Canada. All in all, the Guess Who boasts 14 top-40 singles in the United States and more than 30 in Canada. The band released its first single "The King" on February 10 and it immediately landed on multiple Spotify playlists racking up over 50,000 streams, making it the highest new release in the band's history. The band is now gearing up to release its latest creation, Plein D'Amour. Band members Derek Sharp, Michael Staertow, Leonard Shaw, Michael Devin, and founding member Garry Peterson have crafted a collection of songs that raises the bar and continues to take it up a notch both musically and sonically. The album Plein D'Amour was recorded at Villa Sound in Singhampton, Ontario, Canada, with Adam Fair, featuring other stand out tracks such as "Headline" and "Across the Line". Artwork for the release is provided by world renowned graphic designer Ioannis (Deep Purple, Allman Brothers Band, Led Zeppelin, etc.)

Clear Vinyl.They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's `Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

Folk Implosion's fan favorite album is available on cassette for the first time!They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's 'Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

Those in glass houses shouldn’t throw stones, but The Cool Greenhouse are about to shatter glass ceilings with their self-titled debut LP: Having caused a stir on the underground DIY label circuit with their inimitable, infectious brand of lo-fi post-punk in 2019, The Cool Greenhouse’s debut album shows off a newly developed, fuller sound, taking their signature style to previously unexplored heights while doubling down on their tried and tested formula of angular motoric riffs and no holds barred biting social commentary. The muffled 16-bit drum loops have been replaced with a full kit, the nonchalant vocal delivery has found a new edge and the sparse instrumentation has been augmented by the band’s finally agreeing to leave their bedrooms and enter the studio, yielding a fully-realised vision with fresh clarity and depth that makes their earlier recordings seem like mere blueprints.

A large part of what makes this a winning formula is frontman Tom Greenhouse’s way with words. Frequently topical and clearly political in some sense, Greenhouse’s lyrics side-step the on-the-nose delivery of traditional yawn-inducing political rock in favour of a strange idiosyncratic blend of pop culture snippets, patchwork narratives and oblique literary references. Bursting with humour and irony, the album deftly meanders from Rotary Club jumble sales to Margaret Thatcher’s living room to futuristic voyages into musical VR, taking aim at the gammon classes, rural conservatism and a host of other late-capitalist absurdities with razor-sharp wit along the way.

Discovering The Cool Greenhouse’s first 7” (which coincidentally mentioned his own surname) ace producer, sound engineer and mixer Phil Booth (Sleaford Mods) invited the group to his JT Soar studio in Nottingham. The old potato-packing warehouse offered an idiosyncratic working method for the band, who recorded the album over 7 days as live between kipping on its couches, 4am whiskey-soaked sessions and Mario Kart ’64 on demand. “Phil’s got all the kit and know-how, but the studio is rough around the edges with great character,” Tom tells. “There were weird little synchronistic miracles… discussing a song then seeing its title on a shop window, finding things in pubs straight out of our songs… these zapped me onto some sort of Jungian plane where I didn’t need sleep and knew just what to do.”

Blissfully instinctive, Tom’s lexicon flies across the album with the agitation of an internal monologue that won’t quit. From pop culture to cautionary tales, anything deemed too musically extravagant was swiftly removed before being mastered by Mikey Young (Bodega, Amyl and the Sniffers); “we added a tympani and clarinet but ended up taking it all off again” At times the Truman Show-trappings of ‘Trojan Horse’ or ‘Gum’s unsettling cowbell hint at the motoric. For now, whatever it is that gets you going, let’s just call it The Cool Greenhouse effect.

With »Sod’s Toastie«, Tom Greenhouse and his intrepid band of sonic explorers are more assured and confident than ever throughout this sublime sophomore album. While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style.

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

The Atomic Bitchwax, originally formed in the mid 90s as a side project of Monster Magnet by veterans of a thriving New Jersey stoner rock scene, quickly carved out their own reputation with a handful of searing releases and near-constant road ethic. Twenty five years after their debut release, the band’s lineup features founder Chris Kosnik on bass and vocals, joined by Bob Pantella on drums and Garrett Sweeny on guitar.This new reissue of the trio’s fifth album from 2011 delivers an advanced take on its blistering, virtuosic sound via a single glorious 42 minute instrumental track titled “The Local Fuzz” which contains 50 riffs back to back, perfectly capturing the unit’s vivid execution and ambitious vision. Remixed, remastered and pressed on crimson red vinyl with new artwork by renowned rock artist Alan Forbes.“Rhythm section of Jersey stoner icons Monster Magnet, Long Branch’s Atomic Bitchwax have plowed the trenches of acid metal for nearly two decades...balls-to-the-wall energy through sharp songcraft to blast away limits on what a power trio can do.“ – The Austin Chronicle“Super Stoner Rock” Jersey boys Atomic Bitchwax shine with “gargantuan riffs and jaw-dropping psych sonics”...required listening for any heavy-metal guitarist...one of the heaviest and grooviest stoner metal bands to plug in and turn it up.” – San Diego Reader 1. The Local Fuzz (Part 1) 21:492. The Local Fuzz (Part 2) 20:18