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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.

."..if the Pixies made country music, they'd sound a lot like (The) Young Republic" Phil Alexander, Editor of MOJO Magazine "The storm of ideas and sounds spins around singer Julian Saporiti...wild, mad, entirely their own and proof of their incredible potential. Catch them while you can" The Guardian

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.

Innovative East LA Chicano punk rockers THE Brat formed in l978 when lead guitarist Rudy Medina and his guitarist nephew Sidney met singer-songwriter Teresa Covarrubias. Together they began penning songs that addressed social inequalities while fusing hardcore sounds with reggae undercurrents and a hint of girl group pop. A gig at the Vex in l98O put them in the orbit of Los Illegals and The Plugz, whose frontman Tito Larriva produced their debut EP Attitudes, making it the first release on his own Fatima Recordz label. A killer set from start to finish, this fully authorized limited edition remastered reissue comes with rare bonus tracks and a printed inner sleeve. Essential!

Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as Liars, Tropical Fuck Storm and Viagra Boys. Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty's unique "singing" style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves. 2022 will see the return of Party Dozen, first in April with the 7" release, Fat Hans Gone Mad, for the Sub Pop Singles Club, and then in July with their third album, The Real Work, with a new label partner in New York's Temporary Residence Ltd. The Real Work succeeds in exploring new directions but also features some familiar Party Dozen touches. Perhaps most notable is the first-ever appearance of a guest other than Kirsty or Jonathan on a Party Dozen track, with Nick Cave ad-libbing a very memorable contribution to the album's second track, "Macca The Mutt."

Re-release of the second album of the Berlin outfit on the original OHR label. Produced by the famous photographer Didi Zill in 1971 at Hansa Studios.

Bright Eyes' Christmas Album begins with a piano, flute, ambientnoise, and musical saw-driven version of "Away in a Manger,"helping weed out casual Christmas music enjoyers, but all tootempting for the most devout of Conor Oberst's disciples,who originally learned that the warmth of the holiday season istrumped only by its potential for melancholy back in 2002 withthe original Saddle Creek release. Oberst and a small army offriends at his house proceed to jamboree through Christmasclassics like "Have Yourself a Merry Little Christmas," "GodRest Ye Merry Gentlemen," and "Oh Little Town of Bethlehem,"Clear Red Vinyl.Holiday cheer, when delivered with Oberst's trademark tremble,sounds more like a lament than it does hymns of ecclesiasticaljoy. But the spirited listener will find that the fragile, homespun,and somewhat blinkered vibe that permeates the album setsitself apart from the bog-standard, less sonically humbleofferings...

Dan Barrett—the man behind Have A Nice Life, Giles Corey, and Enemies List Home Recordings—has unveiled his sophomore album as the electronic project Black Wing on The Flenser. No Moon is a gorgeous chillwave / post-punk record with nine bleak yet blissful songs and is a fitting close out to the year 2020. Written over the course of the last few years, with about half of the songs penned over the last six months (mostly due to pandemic “free time”), No Moon is a heart-wrenchingly honest outpour of emotion. Throughout the writing process, Barrett was having recurring dreams and felt a strange sense of timelessness—that, combined with quarantine is what he simply describes as “a weird experience.” Barrett explains, “Quarantine was profoundly isolating. With writing this record, more than anything I just wanted to prove to myself that I could make something out of it. That ended up being a lot of songs about feeling isolated, a lot of ‘trapped in my own head’ moments. I think that was a lot of people’s experience as well.” Barrett formed Black Wing in the mid-2010s as an opposite to his project Giles Corey; where Giles started as “only acoustic instruments allowed,” Black Wing started with only digital instruments. In 2015, Black Wing released its first proper full length, …Is Doomed, to great critical acclaim. Much like that album, No Moon bubbles with electronica and indie-pop with earworm melodies and affecting lyrics. But No Moon is a transitional change from Black Wing’s debut; the songs here are a bit more experimental and there’s a significantly wider emotional range to them. The lyrics are haunting and personal and resonate deeply with the listener. The nine new tracks on No Moon are gloomy yet glorious, heavy while ambient, overwhelming yet alluring, and offer an earnest and honest look into one’s self during such a troubling and confusing year—something everyone can relate to.

“‘Some time in the Spring of 2009, I tried to kill myself. Six months before that, I used a Voor’s Head Device for the first time.’ This line opens the 150-page book that accompanies Giles Corey, an intensely personal, intimate portrait of depression that took me almost four years to make.” —Dan Barrett


Giles Corey’s haunting self-titled debut is back in print! The Flenser is pleased to offer a new version of this cult favorite as a double LP housed in a gatefold jacket, with the same 150-page book that accompanied the previous versions.

Giles Corey is the gloomy folk-driven solo project from Have A Nice Life mastermind Dan Barrett. Here, Barrett forgoes the post-industrial trappings of Have A Nice Life in favor of an intimate singer-songwriter approach. While thematically related to his other work—dealing with subjects like suicide, death and the paranormal—Giles Corey feels more personal, with impressive shifts from quiet desperation to cathartic outburst. Over the years the album has gained a fervent following, and has sometimes been compared to a religious experience. It is dark yet purgative enterprise not for the frail of heart.

The accompanying book is an integral part of the album. Its examinations of the life and times of cult leader Robert Voor parallel the themes within the lyrics and offer further immersion for the reflective listener. In Barrett’s own words: “The album follows a story arc of emotions that are detailed in the accompanying book, as much a part of this record as the music. The text switches between personal tales of struggles with depression, suicide, and a feeling of being lost, and the story of cult-leader and afterlife theorist Robert Voor. Voor’s writings on death and the afterlife feature prominently across Have A Nice Life’s Deathconsciousness, Nahvalr’s self-titled debut, and Giles Corey, making him the unifying factor behind most of the music I’ve written in the last ten years. This record is as personal and raw as anything I’ve ever done.”

Australian out-rock duo, Party Dozen, returned with theirsecond album Pray For Party Dozen in May 2020. Onceagain self-produced, tracks like the eponymous "PartyDozen" act as a bridge from their debut album, TheLiving Man, where evil sample loops built thefoundations upon which the duo erected a brand newtemple of irreverence. Elsewhere, they flirt withelectro-Krautrock ("Auto Loser"), stoner-psych ("TheGreat Ape") and ambient-industrial ("Scheiße Kunst"). Itstill sounds like Party Dozen, but somehow louder; morehushed; even wilder. Plus there are two songs with lyrics.It's smart enough to make you move and dumb enoughto make you think. But it's not greater than the sum of itsparts. There are no parts - there is only Party Dozen.

Birth evolved from Astra, whose two albums for Rise Above Records - 2009’s ‘The Weirding’ and 2012’s ‘The Black Chord’ - had already reinvented classic sonic textures and mind-melds in lucid and intoxicating style. Conor Reilly and Brian Ellis nonetheless found themselves seeking out new life and new civilisations. Initially this led to a collaboration with Psicomagia’s Trevor Mast and Paul Marrone, although later Marrone (while he does play on ‘Born’) was replaced by Thomas DiBenedetto (of Sacri Monte, Joy and Monarch) as sparks began to fly in earnest. The result has been a debut which combines a questing spirit with a dystopian take on the here and now. Musically, whilst traces can be discerned of the dark and magisterial King Crimson of ‘Red’ herein, as well as the yearning cadences of early Yes and the delirious contortions of Van Der Graaf Generator, a whole host of influences made their presence felt in these mournful cadences, joyful solo passages and kinetic freakouts, from '70s mainstays like Aphrodites Child, Premiata Formeria Marconi and Area to the primitive folk of Robbie Basho and the symphonic soundtrack work of Osanna. Yet far from the trappings of retro chic and fashion-aligned classicism, these five celestial serenades stake their claim in a different headspace to most other exponents of the form. Certainly, it’s true that many of the audial shapes manifesting themselves here - the exploratory jazz-rock diversions, Mellotron and Hammond-abetted textures and the rich melancholia of the song-writing - may recall moments from progressive rock’s past and the listener may be forgiven for losing themselves in a gatefold-sleeved reverie. Nonetheless, this is a band which was thrown into life via the constrictions and temporal shifts of a global pandemic, as well as one which has largely set about chronicling a reality in which the surrounding world appears to be hurrying its own demise. Alchemical forces have done their considerable work with ‘Born’, in creating an uplifting album for the ages, 42 minutes in which past, present and future are blurred; an album haunted by earthly concerns even whilst its sonics aim for the stars.

!!! Angry Love Productions is proud to present Psychic Tv’s 1983 classic Dreams Less Sweet, back on vinyl for the first time in over 20 years! Holophonic audio...from the original UK vinyl masters with meticulously restored artwork. Featuring early PTV classics “The Orchids” & “White Nights.”

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.

“Dreaming doesn’t come easy these shadowed days, which is why Strange To Explain by Woods is such a welcome turning of new colors. It presents an extended moment of sweet reflection for the 15-year-old band, bouncing back to earth as something hopeful and weird and resolute. Like everything else they’ve recorded, it sounds exactly like themselves, but with subtly different shades and breaths and rhythmic feels and everything else that changes, the natural march of time and the intentional decisions of the musicians moving in what feels like an uncommonly organic alignment.
“Strange To Explain trades in a different kind of dependability, maintaining a steady connection to the voice on the other side of the record needle. After quickly recording and releasing 2017’s Love Is Love in response to the tumultuous events of their (and our) 2016, Jeremy Earl and company took their time with what came next. Parenthood arrived, as did a short songwriting pause. The band went bicoastal when Jarvis Taveniere headed west. And when they returned to their posts, there on the other side of this particular mirror, they made this, an album that not only catches and holds and shares the light in yet another new way, but recognizes that there’s still light to be caught, which is also no small thing.
“A bend beyond the last bend beyond, Woods keep on changing, thoughtfully and beautifully. The colors were always there, like trees blossoming just slightly differently each season, a synesthetic message coded in slow-motion. Recorded in Stinson Beach, the kind of place that seems like an AI simulation of an idyllic northern California coastal escape, the familiar jangling guitars recede to the background. John Andrews’s warm keyboards and twining Mellotron rise around Earl’s songs and dance across the chord changes like warm sunlight off the Pacific. The music feels a karmic landmass away from the creepiness of the uncanny valley.” —Jesse Jarnow

Lifted or The Story Is in the Soil, Keep Your Ear to the Ground Originally released 2002. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this

In celebration of Mule Variations" and ANTI- Records" 25th Anniversary,the GRAMMY Award winning album is being re-issued on 180g Silver vinyl.The 1999 release of his thirteenth studio album Mule Variations offers themost complete picture of his artistry while also marking the beginning ofthe indie label ANTI- Records. On this album, edgy stomps, humor andexperimentation are interspersed with some of the most beautiful and personal songs he"s ever written.

Worthy successor of "Overdose" and "Right in the Wall" (2017 and 2019), "Fire", released in May 2023, continues the fight in a country in full chaos, with an increasingly elitist political class, increasingly dark news against a background of war, and power struggles where the small and middle classes are put on a date.Fire focuses on the difficulties of daily life, inflation, increases of all kinds under the guise of a self - said consequence of COVID.But also on the news relayed non-stop by media that work 24 hours a day, equivalent to brainwashing.Each piece of this album expresses the evil - being and inequalities of the people, the fact that we went "Right in the wall" as a previous album said and that, from now on, we would have to put "Fire" to finally move forward, change things and restore the social equalities necessary to make society, to create an egalitarian society where everyone exists regardless of their life choices

2022 Dead Oceans' reissue of the third album by the Nebraska indie band Bright Eyes. Fevers and Mirrors was recorded in 1999 and released on May 29, 2000. The album begins with a recording of a little boy reading Mitchell Is Moving, a book by Marjorie Weinman Sharmat. On this album the band used new instruments such as the flute, piano, and accordion introduced into the song arrangements. After "An Attempt to Tip the Scales", there is a mock radio interview that features Todd Fink of The Faint doing an impression of Oberst while reading a script that Oberst wrote. In this interview, the fake Oberst presents a strange, contradictory explanation of his attitude towards his music.

Opaque Blue Vinyl. 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.

For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New York-based band has released a pair of well-received albums, an EP and played numerous shows.

The band has historically worked with a producer to help them create a distinct sound in their records but with their latest effort, Rides On, the band decided to handle production duties by themselves. The hands-on approach allowed the band to have as much fun creating as they ever had at any other point in their career. They recorded over 20 songs, including some that dabbled in electro-pop and stripped-down country before settling on the final 14 songs containing the best elements of ‘70s-driven blues rock. The relaxed vibe of the session also unleashed a diverse sonic texture compared to their previous releases. Sonically, the album is reminiscent of Sticky Fingers-era Stones, but the lyrics are mini-vignettes that embody the spirit of what The Nude Party are going for — and their growth as a band. Rides On, the band confidently says, is their best record. It’s also the most homegrown and organic record The Nude Party has created to date.

Remastered Reissue of Brant Bjork's legendary album in brand new colored vinyl and artwork. “I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I’m rereleasing this record on HPS and I’ve decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again.” New album cover by Maarten Donders. Remastered by John McBain !!

Innovative East LA Chicano punk rockers THE Brat formed in l978 when lead guitarist Rudy Medina and his guitarist nephew Sidney met singer-songwriter Teresa Covarrubias. Together they began penning songs that addressed social inequalities while fusing hardcore sounds with reggae undercurrents and a hint of girl group pop. A gig at the Vex in l98O put them in the orbit of Los Illegals and The Plugz, whose frontman Tito Larriva produced their debut EP Attitudes, making it the first release on his own Fatima Recordz label. A killer set from start to finish, this fully authorized limited edition remastered reissue comes with rare bonus tracks and a printed inner sleeve. Essential!

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.

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.