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Finally back on wax!
This is the first time the album has been available on vinyl since its original release.

Finally back on wax!
This is the first time the album has been available on vinyl since its original release.

Sealed copy!

First time this single is on vinyl!

Lush and Sing-Sing co-founder Emma Anderson releases Spiralée: Pearlies Rearranged on October 18. It consists of new versions of all 10 tracks from last year’s debut solo album, Pearlies, reimagined by Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, Memorials, Concretism, Masal and original album producer James Chapman, aka Maps.

We aren’t calling it a remix album, because it is so much more than that – everything has been rearranged, from the tracks to the running order and the anagrammatic title (which led to Stuart Jones’ stunning Spirograph-meets-Saul Bass artwork) and the result is, essentially, a brand-new record. “It was a chance to get some really inventive people to take the tracks and turn them on their heads and that’s exactly what has happened,” explains Emma. “We selected an interesting array of artists and gave them the stems without any direction to see what they would come up with. The result is absolutely brilliant and is a record that stands alone without even knowing what the originals are like.”

The debut record by Fly Pan Am consists of five long songs clocking in at over an hour of music, spread across three sides of vinyl for the LP format. Chiming, deliberate instrumental rock propelled by insistent motorik drumming and interweaving guitar and bass lines that unfold with obstinate rigour. The band's ear for melody and approach to (de)construction reveal the twin influences of French pop and krautrock, resulting in a forward-looking experimentalism guided by an unshakeable faith in the unfulfilled possibilities of minimalism and musique concrete in punk-rock. Additional tape manipulations and field recordings by all the group members add drones, transitional accents, and abrupt interruptions to the collage. The music is sometimes willfully infuriating in its pursuit of a concept; "Dans Ses Cheveux Soixante Circuits" proceeds through a lovely series of harmonic changes before settling into a 10-minute repetition of a half-tone interval while the digitalia of guest electronic musician Alexandre St-Onge takes over. The band premiered this piece at Constellation's Musique Fragile concert series in 1998, and "L'espace au sol." is a re-recorded version of a piece that first appeared on a split seven-inch with Godspeed You! Black Emperor, put out by local fanzine aMAZEzine, also in 1998.

180g Vinyl!A collection of songs pushed to maximum density, marked by dark shoegazer guitars, distorted organ stabs, rubbery basslines, motorik drumming and various shrouded voices whispering, screaming and singing along the way - this album contains Fly Pan Am's most intense sounds yet. While each side of the record is anchored by a long, non-linear piece juxtaposing the band against tape and electronic treatments, several tracks are as close as the group came to traditional rock/pop structures, with 'chorus' breaks, melodic 'hooks' and vocals. Of course, being Fly Pan Am, all of this is duly bracketed - there is nothing traditional about the results, and the various elements are pushed forward or pulled back in anything but conventional ways. These are careening, carnivalesque tunes that somehow wed the browns and pinks of their guitar noise with yeye pop, Boredoms-style noise incantations and hardcore punk. N'Ecoutez Pas features a long list of local guest vocalists to supplant the band's own oral action, as well as electronic interventions from fellow Montrealers Tim Hecker and Alexandre St-Onge.

Lush and Sing-Sing co-founder Emma Anderson releases Spiralée: Pearlies Rearranged on October 18. It consists of new versions of all 10 tracks from last year’s debut solo album, Pearlies, reimagined by Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, Memorials, Concretism, Masal and original album producer James Chapman, aka Maps.

We aren’t calling it a remix album, because it is so much more than that – everything has been rearranged, from the tracks to the running order and the anagrammatic title (which led to Stuart Jones’ stunning Spirograph-meets-Saul Bass artwork) and the result is, essentially, a brand-new record. “It was a chance to get some really inventive people to take the tracks and turn them on their heads and that’s exactly what has happened,” explains Emma. “We selected an interesting array of artists and gave them the stems without any direction to see what they would come up with. The result is absolutely brilliant and is a record that stands alone without even knowing what the originals are like.”

180g Vinyl!This 3-song EP of fractured, tape-infested experiments is an intransigent slab of self-referential auto-criticism. The band was sticking to its agenda of acutely self-conscious musical manipulations, re-working its own materials and assumptions to yield new compositions of uncompromising formalism. Side A is a medley of sorts, consisting of phrases and fragments reconfigured and replayed from their self-titled debut (Fly Pan Am). Various melodies are reassembled and played off of one another, creating an extended live remix with blissful passages of layered guitars, drones, sampled backing vocal lines, and the requisite incidental noise break in the middle of the piece. The result is something like a 'Stars On 45'-style musical encapsulation of the entire debut record. Side B contains a new piece of somnambulist clockwork repetition, with the band laying down a strict, static groove while various tape manipulations penetrate the mix to create polyrhythms, dissonances and additional textures. This is prime anti-funk, invoking early Talking Heads along with all things krautrock, and driving home the EP's subtitled intent: "stereo-stupefiant".

The mighty OM recorded live on BBC Radio 1, Maida Vale, May 13, 2019. The songs continue to evolve; two each from the classic OM releases Advaitic Songs and God Is Good, encompassingly recorded and mixed with the pristine quality that BBC engineers (and OM) bring to recorded sound. Please see the attached appendix for a full list of available OM titles.

A brand new album by Pearl Jam! Their 11th studio effort.

Three playable sides and one with etching!
28-pages booklet included

Light Blue Vinyl.

The Jam’s debut album In The City was originally released in May 1977 and reached #20 in the UK album chart. It features the title track, the first of their 18 top 40 singles (UK #40 in April 1977) alongside 9 further originals which captured the mood of the times and in particular the energy and anger of the UK Punk movement. It also boasts two cover versions, ‘Slow Down’ and the theme to the 1960s TV show Batman which make no secret of the inspiration the band took from 60’s American R&B and UK groups like The Beatles and The Who, who also covered the Batman theme. The release comes in 140-gram limited edition white vinyl.

Three days after completing their first American tour, Pearl Jam headed to New York to strip back songs from their debut album Ten, well on its way to becoming one of 1992’s top rock albums. For the first time on vinyl, relive all seven songs featured in the MTV Unplugged broadcast, including “Jeremy,” “Even Flow,” “Alive,” “Black” and “State Of Love and Trust.”

Allegra Krieger’s "Art of the Unseen Infinity Machine", her second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death.

Krieger’s previous album, "I Keep My Feet on the Fragile Plane", hewed more closely to the domestic spaces of city and mind. Rolling Stone regarded the album as “ten songs of heady philosophical meanderings packed with emotional dynamite,” and likened her “finely phrased lyrics” to those of “Joni Mitchell, Leonard Cohen, [and] David Berman.” Krieger’s existential meditations remain on "Art of the Unseen Infinity Machine", however her meandering melodies have taken on a stronger sense of direction. She narrates candidly and assertively; the full-band arrangements never overpower, only offer a robust platform on which Krieger’s voice reaches new heights.

The full band brings a heightened sense of drama to the album’s arrangements, which contrasts the quieter approach of Krieger’s previous LP. There are noisy interludes, jazz-inflected discursions, impactful stops and starts, and occasional spaces for Krieger to stretch out her impressive vocal range (most prominently at the dazzling climax of album stand out “Came”). In "Art of the Unseen Infinity Machine", Krieger invites us to a place where transfiguration is not only possible but actively happening. From this place, the beautiful and the banal and the terrible are all laid out before us. And Krieger asks us not to look away. Instead, she invites us to stare down the beautiful and terrible in the world, and to realize that sometimes the only way out is through.

Limited pressing reissue of the 2008 Sub Pop single, the first OM recording featuring Emil Amos on drums. B-side features the band’s first dub version.

Sacred Bones celebrates its 15th year label anniversary with this blue and purple galaxy vinyl repress of the haunting and monolithic May Our Chambers Be Full. "The juxtaposition of Rundle's long distance melodies and Bryan Funck of Thou dredging up his guts to scream into the sky shows two sides working together to create something surprising and new." - The Fader // "The whole LP would be a great release for either artist, but it's the brilliant convergence of sensibilities that sets it apart in the landscape of alternative metal... an excellent entry point for any would-be Thou fans, and a potential game-changer for Rundle ones." - Loud & Quiet

"The 1980 release of Catholic Boy, along with the re-publication of his cult-classic book The Basketball Diaries, shot JIM Carroll and his band into the international spotlight. Catholic Boy, named the second-most-popular album of 1980 by BAM, is now considered one of the last great punk albums. Jim appeared with his band on the variety program Fridays, he was interviewed by Tom Snyder, and he was featured on the MTV series The Roots of Rock, hosted by Lou Reed. Cover stories appeared in Newsweek, New York, Creem, Interview, Melody Maker, Stereo Review, Rolling Stone, Variety, and Penthouse. Playboy even printed a cartoon in which the punchline was, "Ever since the advent of Jim Carroll, 'I'm a Catholic junkie poet' seems hipper than 'What's your sign.'"

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at Sxsw, Transmusicales in France and Electric Picnic in Ireland.

Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM Shatt weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Since 2012, New York City singer-songwriter Nate Amos (Water From Your Eyes, My Idea) has recorded and self-released hundreds of songs under the This Is Lorelei moniker, and perhaps surprisingly, after a decade plus, "Box for Buddy, Box for Star" marks the first attempt at a traditional, intentionally written full-length album. Amos describes the bulk of This Is Lorelei’s discography as “unedited diary entries,” written and recorded without much forethought, regard for genre or reverence for albums as thematic bodies of work, so oddly enough, "Box for Buddy, Box for Star" is both a fresh start and the culmination of years of diligent, interesting songwriting.

"Box for Buddy, Box for Star" embraces traditional pop songcraft and a confessional, carefully written brand of lyricism, dabbling in the kind of classic singer-songwriter cliches he never imagined toying with—but not without the counterbalancing force of shitpost-y irony, which listeners have come to expect from Amos. Inspired by the gritty romanticism of Shane MacGowan and the Jim Croce mimicry of Tim Heidecker’s "What the Brokenhearted Do…", the LP exudes both a grizzled charm and youthful intensity. Sonically, Amos adorns the record with quaint country gestures—a full-circle artistic choice for Amos whose father is a veteran bluegrass musician.

And it wouldn’t be a Nate Amos release without a few curveballs, like “Dancing in the Club,” a bouncy auto-tuned pop song, which he likens to Bruce Hornsby-via-Blink-182, or “Perfect Hand,” an intimate piano-led track with vocal samples, alarm bell-like effects and skittering electronic beats. He also mischievously opens the album with a red herring of sorts, “Angel’s Eye,” a twangy sci-fi country duet about an angel who abducts a cowboy and unintentionally falls in love.

Between improv, pop and r&b abstractions, and contemplative balearics, Sam Gendel and Ugné Uma “Tam tikri objektai erdvėje” subtly meanders through a fragile and forward cosmos both inward and out.

Sam Gendel and Ugnė Uma’s Tam Tikri Objektai Erdvėje album sketches a layered, melismatic and intertextual view on what both performers define as a lightness of being. Ugnė Uma’s musical stance is influenced by experimental poetry and Lithuania’s 20th century underground music scene - jazz and folk, resulting from the liberation of the country’s independence movements. Sam Gendel, from Los Angeles, is a saxophonist and producer, proficient on more instruments than the saxophone alone, whose recorded work both solo and collaborative has brought him acclaim as a vital new voice in modern jazz and beyond.

Tam Tikri Objektai Erdvėje is Lithuanian and translates as Some Particular Objects in Space. The six tracks on the album stand for every letter of the word Saturn. They sketch out a sound palette both fragile and full of forward momentum. With hints of improv, sampling their own recorded work and sounds of a childhood’s Yamaha Portasound PSS-290 synth into abstractions of pop and r&b, some of these tracks reach an almost balearic feel, the more contemplative end of it. With lyrics delving into cosmic phenomena, Tam Tikri Objektai Erdvėje is an album about space, whether cosmic or inward or the one in between. It easily surpasses the sum of its influences and the materials and tactics used to produce it.

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.

Originally released as "Bleed American" in July 2001, copies of the album were pulled from shelves after 9/11 and re-released simply as "Jimmy Eat World".

Now, 14 years later, the album revert back to their original title of "Bleed American" for this vinyl reissue.

The album became critically and commercially successful leading to the mainstream popularity of the band.

In 2013 the album was ranked 429 on NME's The 500 Greatest Albums of All Time list.

Returning with their first new music in a decade, Kings of Convenience today announce their forthcoming album, ‘Peace or Love’, out 18th June on EMI Records.

The gentle power of ‘Rocky Trail’ makes it clear that the band have lost none of their skill or emotional eloquence since they last recorded together. Lilting acoustic melodies are accompanied by violin and the pair’s distinctive dual-vocal approach to create something both subtle yet evocative. The contemplative lyrics deal with ideas of perception and regret.

“Another classic Eirik composition that skilfully ignores the verse-chorus-verse blueprint” explains Erlend on the origins of the song. “It’s pop music, but not as we know it”

The band also announce their return to British shores with two live shows at the Royal Festival Hall on the 26th of September 2021 (afternoon matinee and an evening show.)

‘Peace or Love’ is the sound of two old friends exploring the latest phase of their lives together and finding new ways to capture that elusive magic. recorded across five years in five different cities, the album sounds as fresh as spring: 11 songs about life and love with the alluring beauty, purity and emotional clarity that you would expect from Kings of Convenience.

Eirik Glambeck Boe and Erlend Oye met at school in Bergen, Norway and first performed together in the rock band Skog before breaking off and forming a duo in 1999. The pair established themselves as inadvertent trailblazers of a new wave of intimate, acoustic music. They’ve released 3 critically acclaimed albums, toured all around the world and cultivated a dedicated fanbase.

Live Radio Broadcast. Recorded at The Cabaret Metro, Chicago, 28-03-1992. Lp 180 gr

Attn.: We did not receive this record in time for RSD, but we will get it this week.

It’s been years now — just about two, judging from the sun. OM have done their time in the desert, and ever-changing, are returned. Today, they say, God is Good. Are you surprised? Perhaps you’ve haven’t understood what OM was saying to you. But perhaps you felt something. It’s true that the one way pursued by Om leads in many different directions. It is a mystic path. Songs come from innumerable sources, filtering through the external and the internal. Om albums are rituals, personal convictions transcripted into verse. Playing the music is visceral, emotional, a catharsis of soul and spirit. As the ghat liberates soul from body to the ultimate, so too do Om strive to disengage from the finite object of their objective mortal self to rest in the empty and timeless witness. And in doing so, they seek to release you as well. As ever, dynamic relationships and the slow building of mood are attenuations that shape the structures of God is Good. With careful microscopic increase, the energy grows through the four songs, leading towards moments that one could interpret…revelation? Oblivion? Awakening?

Debut single from French 3-piece electronic garage band, THE JIMI BEN BAND. Based in Lille, France, they came to Damaged Goods' attention having played with Thee Spivs. Damaged Goods strongly suggests you YouTube the video to experience the fullmajesty and psychedelic majesty of the band. Once upon a time, Jimi Ben found himself lost in the jungle. He had been wandering in South East Asia for years and could find no way out. One night he was cruising for dirt and love, he got struck by sexedelic visions emerging from the red lights of go-go bars. An inner baboon voice told him: "Jimi ! Bad is good for you. Why don't you set up a Rock'N'Roll band ?". That's exactlywhat he did. Back in his hometown (Stockton, Northern France), he was taught by long time friend Ricky Love how to play powe...

Classic Black Lp W/ Printed Inner Sleeve, Lyric Insert And Download Card!Emma Ruth Rundle's Forthcoming Engine Of Hell Is Stark, Intimate, And Unflinching. For Anyone That's Endured Trauma And Grief, There's A Beautiful Solace In Hearing Rundle Articulate And Humanize That Particular Type Of Pain Not Only With Her Words, But With Her Particular Mysterious Language Of Melody And Timbre. The Album Captures A Moment Where A Masterful Songwriter Strips Away All Flourishes And Embellishments In Order To Make Every Note And Word Hit With Maximum Impact, Leaving Little To Hide Behind. "I Really Wanted To Capture Imperfection And The Vulnerability Of My Humanity," Rundle Says Of The Album's Sonic Approach. "Here Are Some Very Personal Songs; Here Are My Memories; Here Is Me Teetering On The Very Edge Of Sanity Dipping My Toe Into The Outer Reaches Of Space And I'm Taking You With Me And It's Very Fucked Up And Imperfect.'"Emma Ruth Rundle Has Always Been A Multifaceted Musician, Equally Capable Of Dreamy Abstraction (As Heard On Her Album Electric Guitar: One), Maximalist Textural Explorations (See Her Work In Marriages, Red Sparowes, Nocturnes Or Collaborations With Chelsea Wolfe And Thou), And The Classic Singer-Songwriter Tradition (Exemplified By Some Heavy Ocean). But On Engine Of Hell, Rundle Has Opted To Forego The Full-Band Arrangements Of Her Previous Albums In Favor Of The Austerity Of A Lone Piano Or Guitar And Her Voice, Which Creates A Kind Of Intimacy, As If We're Sitting Beside Rundle On A Bench, Or Perhaps Even Playing The Songs Ourselves. It's An Extremely Up-Close And Personal Confessional With A Focus On The Rich Subtleties And Timbre Of Rundle's Graceful Performances."For Me This Album Is The End Of An Era To The End Of A Decade Of Making Records. Things Do Have To Change And Have Changed For Me Since I Finished Recording It." In Essence, Engine Of Hell Signifies A Major Turning Point For Rundle As Both An Artist And As A Person. The Catharsis Of This Type Of Songwriting Has Ef...

Finally, the time has come! After an eight-year wait, The Libertines fans have a reason to rejoice again.

On 08.03.2024, the British band will release their new album "All Quiet On The Eastern Esplanade"! The fourth studio album comprises 11 new songs by the four-piece band.

The songs were written in Port Antonio, Jamaica and later recorded in "The Albion Rooms" in Margate together with Grammy nominated producer Dimitri Tikovoi (The Horrors/Charlie XCX/Becky Hill). The album was mixed by the legendary Dan Grech (Lana Del Rey/Liam Gallagher/Paul McCartney).

The first single "Run Run Run" is about the pursuit of freedom and already gives a foretaste of the musical journey that awaits fans on the album.

"This one feels like we were all actually in the same place, at the same speed, and we really connected," Carl explains of the collaboration on the new record.

The band released their last album "Anthems for Doomed Youth" in 2015 and wowed the music world.

Finally back on wax!

Ringing from hi-fi headphones and blown-out boombox speakers alike comes the overloaded guitar genius of ""Easy Listening"", a record of rock ‘n’ roll daydreams and terminal boredom, and 2nd Grade’s long awaited second LP. Like a blue slushy on a hot day, Easy Listening is a sweet respite. Like the Blue Angels touching down on the Las Vegas Strip, Easy Listening is impossible to ignore. And like a janitor mopping up beer on the floor of the Hollywood Palladium in 1972, hours after the Rolling Stones have finished “Ventilator Blues” and climbed onto the bus, Easy Listening knows the glory and cost of escapism, abandon, and the soul of rock ‘n’ roll. Philadelphia’s 2nd Grade (Peter Gill, Catherine Dwyer, Jon Samuels, David Settle, and Fran Lyons) is a band both obsessed with and worthy of rock stardom, and Easy Listening proves their status as virtuosos of the power pop renaissance.
Sonically and lyrically, Easy Listening pays tribute to a guitar lineage linking the Stones to the Flamin’ Groovies, to Redd Kross and Guided By Voices. With its spiraling hooks and handclapped quarter note beat, lead single “Strung Out On You” sounds like an alternate reality post-Radio City Big Star cut. In 2nd Grade’s world, music history is a prism, not a linear progression. Famous teens transcend time on the outro to “Teenage Overpopulation,” a shouted cacophony of names including Tommy Stinson, Lizzie McGuire, and Joan of Arc. The line between the love of an audience and that of a romantic partner is blurred on songs like “Hands Down” and “Me & My Blue Angels.” Across the album, hi-fi and lo-fi styles splice together; playful references and surreal hints of impossibility build a complex, believable world atop a foundation of simple and sticky melodies that resonate on very first listen.