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Early repress on green Vinyl!

Lime green vinyl

This is the seventh release in The Social Registry's ongoing series aptly titled The Social Club. Dispatched monthly via letter-pressed/limited edition 7-inch vinyl and digital distribution, this series presents a full musical array: the established and the obscured, the noisy and the delicate,the tempered and the experimental. The Metabolismus collective has been making music since the mid-1980's, selfreleasingmost of their early material on cassette and vinyl LPs. The band comes from the town of Stuttgart, Germany and creates music that is rooted in the rich tradition of German experimental bands such as Can, Amon Duul, Popul Voh andKraftwerk with touchstones in rock, folk and electronic music. With this release they are joined by Samara Lubelski and provide two beautiful tracks of arboreal shimmer with glimpses of soft 60s psychedelic sheen. Metabolismus do not see themselves as just a band. They evolved out of a typicalEast-Swabian street-folk-punk-band into what they call an "exartperihoppmental workshop". They released 33 tapes in the first ten years of existence and 33 records in the second, and are always in search of new sounds & experiences, concepts& structures, with absolutely no concession to commercialism. In this blend of purity in motive and inspiration grows the seed for "Metabolismusic", which can be grasped as a sort of musical time bomb. Since 1982 they have seen their missionas evoking the etabolic force' through etabolic love' and it's what they still attempt to express.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation. Essential!

FOUR SONG EP FEATURING MEMBERS OF THE BRIEFS!Steve E. Nix and The Famous Lizards are a new four-piece group led by guitarist/singer Steve E. Nix (from legendary Seattle punk band The Briefs). Accompanying him as The Famous Lizards are bassist Kicks (also from The Briefs), guitarist Emi Pop and drummer Miles Freeborn. The Motorcade EP is the band's debut release. Available on a limited edition black vinyl 7", it features four killer pop-punk tracks, just what you'd expect from the prolific pen of Steve E. Nix. "I'm a punk rocker who loves guitars and interesting songs. I really like The Godfathers" says Steve.Steve has been putting out quality underground music since 2000 when The Briefs released their first single 'Poor And Weird'. After four albums, a slew of singles and relentless touring, The Briefs took a well-earned hiatus. Never one to stay still for long Steve almost immediately formed and fronted The Cute Lepers. With Briefs' bassist Kicks on board and a rotating cast of drummers, guitarists and back-up singers The Cute Lepers continued to tour across the US and Europe and released three albums, all on Damaged Goods Records, along with a bunch of 7" singles. In 2014 The Briefs started touring again and also began work on an album, Platinum Rats, which was eventually released by Damaged Goods Records in 2019. The Briefs are currently planning dates for 2022.

New edition with new artwork in transculent purple vinyl limited to 500 copies.

Recorded and mixed by Nate Leritz and Nick Ranger at The Woods recording studio in Fort Gratiot, MI
Mastered by Jay Maas at Getaway Recording in Haverhill, MA
Design and Layout by Jake Morse & Kacey Keith

(((Killer Rock N Roll From Detroit, Scuzzed Up Punk Following On From Their Debut Records On Jack Whites 'Third Man Records))) - We're All Familiar With Seven Minutes In Heaven, Right? It's Some Sort Of Weird Kissing Game That Cinema Informs Me Was Played By The Cool Kids At Parties. You Know, The Sort Of Normie Party You Weren't Invited To, Leaving You To Sit At Home, Listening To The Misfits And Scrawling Dead Kennedys Logos Over Any And Every Available Surface. Where Are Those Kids Now? Dunno, Doing Some Boring Job, I Guess. Whatever. 'Seven Minutes In Heaven' Is Also A Pretty Apt Description Of The New Ep By Detroit Punx The Stools - The Four Songs That Make Up 'Feelin' Fine' Are Over Before You've Had Chance To Blink, But Hot Damn, They're Good. They Call Themselves A 'Bluesy Punk Trio', And Fair Enough - Like Their Hometown Forebears The Mc5, They Take The Raw Tools Of Rock'n'roll And Dial Up The Speed, The Intensity And The Fury, Resulting In A Record That Commands Your Attention, Your Adrenaline And Your Utter Devotion. Like Their 2018 Album 'Q-Nails', 'Feelin' Fine' Sashays In With A Loose-Hipped Swagger And An Audible Commitment To Getting Your Feet Flying Every Which Way, But This Time They've Had A Relatively Hi-Fi Makeover - Opener 'Can't Feel Good' Is Yer Classic Show-Opener, Going From A Flurry Of Chords And Cymbal Wash Into An Ear-Catching Riff And Bone-Crunching Rhythm Section. Like X's 'Los Angeles' As Played By Speed-Addled 20-Stone Wrestlers, It Mesmerises As Much As It Pulverises, While The Joyously Dumb 'Rockpile' Might Well Be The Most Aggressive Tribute To Nick Lowe's Old Band. Or Maybe Not; It's Hard To Make Out The Lyrics While I'm Bouncing Off The Walls. Punkest Use Of Slide Guitar Since The Gun Club? Sure, Why Not? It Slays, I Can Tell You That Much. All You Really Need To Know Is That The Stools Rule, And You Need This Record. Will Fitzpatrick

Karel's second EP "The Work" is being re-released January 4th of 2021. After the success of his first EP, "Life", released on Job Jobse's label (De Vlieger) last year. He has been playing shows all over the Netherlands and Europe. He played major festivals like Lentekabinet this year and has been touring France, Germany and Belgium too. Last year he played Down the Rabbit Hole festival, where he was reviewed by 3voor12, (the major Dutch music platform) in the top 3 after Nick Cave & David Byrne. He also played the biggest festival in The Netherlands, Lowlands and has been a regular at the coolest local clubs in Amsterdam like Garage Noord and Skate Cafe. He has become very popular locally and is a live sensation, looking to expand the possibilities of performance. He is known for climbing up things, swinging in on a rope and other signature moves. He has a John Maus like, synth-pop/ wave/ 80s sound and creates a warm vibe wherever he is playing.

Love + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But Love + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of Love + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." Love + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is Love + POP.

Food for Worms, their explosive third record, sees shame enter a new, surreal landscape, as reflected in the cover art designed by acclaimed artist Marcel Dzama. It's suggestive of what is left unsaid, what lies beneath the surface, the farcical and fantastical everyday that we are living in, in a society where both everything and nothing is possible. On the one hand, new album Food for Worms calls to mind a certain morbidity, but on the other, it's a celebration of life; the way that, in the end, we need each other. The album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share. For the first time, the band are not delving inwards, but seeking to capture the world around them. Now they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which singer Charlie Steen declares to be "the Lamborghini of shame records." The album crashed into life faster than anything they'd created before. The band recorded it while playing festivals all over Europe. That live energy, what it's like to witness shame in their element, is captured perfectly on record - like lightning in a bottle. The album marks a sonic departure: shame have abandoned their post-punk beginnings for far more eclectic influences, drawing from the sharp yet uncomplicated lyrical observations of Lou Reed and the more melodic works of 90s German band, Blumfeld. They called upon renowned producer Flood (Nick Cave, U2, PJ Harvey, Foals) to execute their vision. Recording each track live meant a kind of surrender: here, the rough edges give the album its texture; the mistakes are more interesting than perfection. In a way, it harks back to the title itself and the way that with this record, the band are embracing frailty and by doing so, are tapping into a new source of bravery.

Tragic Tiger's Sad Meltdown is Heavenly aka Tiger Hutchence-Geldof's debut album of sorts, cut from cassette tapes of rehearsals mixed with snippets of field recordings. Recorded with contributions from Nicholas Allbrook (Pond), Scarlett Stevens (San Cisco), India Rose & Jacob Diamond.
"I made this cassette in the living room of our house in Fremantle, a seaside town in Western Australia. I had always been shy to sing with others but moving across the world and my ex-boyfriend Nick had given me some bravery. Something about living closer to nature meant I felt creative and open hearted. It was as if the wide open landscape of Australia had finally given my heart enough space to open properly. The recordings are actually just recordings of our rehearsals, I never feel set in how song is meant to be so they usually just come out of me in the moment. My friends playing along with me are luckily all very empathic players and we found a way to play with one another without any structure or plan. It was really moving to create with so much freedom and understanding. Most of the songs are about my sister Peaches who I lost as a teenager so singing them aloud felt very potent but my band always made me feel held"

Polytechnic Youth’s enforced, quickfire pre-Christmas release schedule continues apace here with the wonderful debut full length from Lone Bison. As many small labels are discovering just now, one of the only viable alternatives to the current nightmarish world of vinyl pressing, is wandering back into yesteryear and -armed with a call from the PY devotees to ‘just keep getting the music out’- turning to the previously scorned upon compact disc. With ticks alongside the ‘cramming more music onto it’, having it look cool and charging £9.99 tops, we present this fabulous first Lone Bison full length. An incredible 13 track, electronic project for Ramsgate UK based Nick Bonell. Inspired by a love for ‘70s German electronic music and the current golden age of synthesizer based film soundtracks, it’s key theme as Nick says is “Repetition. I just like to lose myself in interlocking arpeggios which transport me away from the stresses of the day job. The tunes came out of me moving increasingly away from guitar and towards using hardware synths like the Korg Ms20, and, having made music as part of a band or a duo- I fancied something solo this time. The album was recreated very quickly, often with single takes and carefully choosing times when the family and neighbours were out!” Hugely recommended to fans of Tangerine Dream / Klaus Schulze or Edgar Froeses’ solo work as well as Cluster and lots on (label favourite) Sky records’ output. Musically, the album is wonderful but the sleeve is pretty neat too; Nick adds “I will be forever grateful for the amazing linocut cover art by Ieuan Edwards aka The Black Gold Press. I originally asked if I could use an existing print, but he insisted on a bespoke piece and chiselled lino all night to turn around the print in 24 hours. Then Jules Bigg (one of the original team behind the launch of Ramsgate Music Hall) did the photography and graphic design, the man is a wizard. I am truly lucky to live in an area where, if you chuck a rock in the air, it will land on an artist or musician. I had pretty much given up on making original music, after the untimely death of my songwriting partner some years ago. However, living in an area where new venues have mushroomed and great gigs are so plentiful, has inspired me to dig out the synths and fx pedals again”. Released in a one time pressing only of 500 with insert cards carrying more of Ieuan and Jules’ work, the album is released by Polytechnic Youth in December.

Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings - all captured in the house where they lived - have a "live in the room" feel akin to say Neil Young's Harvest or Nick Drake's Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called "In Your Own Time" was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the "Fuck Like A Dog" song and Ben shared it with more than a few folks during the golden era of mix cd's. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now_ Tallahassee is the foreword to your favorite book that you've somehow skipped over time and time again. It's an alternative history mixed with some revisionist history told over the course of eleven songs. It's also the debut record by Iron & Wine some twenty years after the fact.

Cover with bent corner, close to VG+. Still in shrink, but opened, with hype sticker

For Fans Of Amon Düül, Can, Faust, Neubauten, Brian Eno, Cluster, Cult Of Luna, Nine Inch Nails, Massive Attackor - Norwegian For "Dizzy, Confusing" - Is The Third Album From Italian Avant-Rock Trio Oslo Tapes, And The Album Keeps What The Word Promises: A Dizzying Ride Through A Feverish Dreamscape Of Imaginary Norwegian Highlands Painted In Cubistic Shapes. Hypnotic Basslines, Repetitive Drum Patterns, New Wave Synths And Psychedelic Guitar Textures Covering The Full Width Of The Stereo Room, All Seamlessly Woven Into A Gloomy Kraut - Tapestry Which Sounds Refreshingly_ Modern, While Paying Tribute To The Aged Genre.Marco Campitelli, Born And Raised In Lanciano On The Southern Adriatic Coast Of Italy, Founded Oslo Tapes In The Early 2010s After A Trip To The Norwegian Capital Left Him Deeply Impressed. Under The Influence Of This Infatuation, He Composed And Produced Oslo Tapes' First Record "Ot (Un Cuore In Pasto A Pesci Con Teste Di Cane)" Within A Week In 2013.Supervised And Supported By Friend Amaury Cambuzat (Faust / Ulan Bator), Campitelli's First Attempt To Capture The Mystical Vibe Of Norway Was Released On Deambula Records (Ulan Bator, The Marigold, 7c). In 2015 He Was Joined By Mauro Spada And Federico Sergente (Zippo) And Together They Recorded Oslo Tapes' Sophomore Album "Tango Kalashnikov", Also Released On Deambula Records."Or" Is A Much More Collaborative Effort For Oslo Tapes Than The First Two Records. Next To Campitelli, The Album Was Co-Produced By Amaury Cambuzat (Ulan Bator) And James Aparicio (House Engineer For Mute Records And Mixing And Mastering Engineer For Depeche Mode, Mogwai, Nick Cave). During Production, Campitelli Became Friends With Emil Nikolaisen Of Serena Maneesh W H O Guided Him "Through The Norwegian Imagination". As A Result, The Record's Title Is Also Courtesy Of Nikolaisen.During This Journey Spanning Over Eight Songs, Oslo Tapes, Completed By Mauro Spada (Bass) And Davide Di Virgilio (Drums And Percussions) Construct A Dense And Ever So...

DUNES are a mysteriously ethereal and minimal trio from Los Angeles. Appropriating pop and experimental music into a familiar swirl, while retaining a fresh outlook and approach, DUNES inhabit a space of tweaking, twisting, imagining moments and emotions from the past, destined to end up as their future. Stephanie Chan, formerly of Austin Texas bands FINALLY PUNK and THE CARROTS plays guitar and sings in DUNES, she creates surreal and dreamy narratives with her lyrics and uniquely beautiful, powerful voice. Mark Greshowak plays barritone guitar and sometimes bass, he used to write songs and tour with seattle area band TALBOT TAGORA, now he and Stephanie weave their melodies back and forth, making lush tones for our eardums. Kate Hall, played drums in MIKA MIKO before holding down the rhythmic duties and also singing for DUNES. Having released a 12" EP on Mexican Summer, two 7" EP's, one on Los Angeles label Teenage Teerdrops, the other on San Diego's Art Fag and a tape on Ooga Booga DUNES are primed to release a full length to the world. Together, here is a blend of three people experimenting and work...

Ltd edition CLEA...

Late Saturday night turns Sunday morning mistysomewhere, someone is playing some strings...snatches of thoughts whispereda stolen text from dirty old Henry Millerthe stereo scratches out a scrap of a poem penned to a dead manlike a song to a lover who leftwithout saying goodbye.With the new release of "in Comfort" the duet of Lydia Lunch and Philippe Petit move out of the dark Psycho-Ambience of their previous "Twist of Fate" and into a more intimate atmosphere. Using orchestral strings, vanguard soundscapes and collected field recordings to conjure up a dense, cinematic world, the sinister, yet inviting "in Comfort" mixes acoustic instrumentation with digital filtering, swaying and unfolding amid the psycho-film-noir syntax of a Lunchian universe. Featuring Joseph Budenholzer ( founder of Backworld, has worked with Jarboe, Little Annie, David Tibet, Isobel Campbell, ..), James Johnston ( founding member of Gallon Drunk, and plays with Krautrock legends FAUST, was a member of Nick Cave and the Bad Seeds from 1994 to 2008, ..), Fred Lonberg-Holm ( Valentine Trio, Lightbox Orchestra, member of The Peter Broetzmann Chicago 10tet, Vandermark5, ..), Perceval Bellone ( Strings of Consciousness), Manuel Zurria and Bela Emerson.

Sprouting from the same mind that created the Books - one of the most acclaimed and innovative groups of the past decade - ZAMMUTO marks a deep reinvention of the highly detailed, genre-defying spirit that made seminal albums such as "The Lemon of Pink" and "The Way Out" possible. Given THE BOOKS' success as an experimental collage-pop project, founder and namesake Nick Zammuto could have comfortably extended that thread. Instead he has given us a record that is progressive and forward-looking, intense and driven, with hugely varied rhythms and melodies. The whispered, folk...

The Obsessives, above all else, write the music that they want to listen to. Comprised of founding members Nick Bairatchnyi (guitar, bass, vox) and Jackson Mansfield (drums, guitar, keys), their sound has spent the last decade evolving through elements of DIY, grunge, alternative, and math to shape into something that feels the most uniquely authentic to their version of exciting noise. Bairatchnyi's lyrics emphasize the importance of songwriting's storytelling aspect, and what pours out of him has a rough edge of urgent specificity. Paired with a soundscape that manages to both punch in its efficacy and shimmer in its intricacy, the sonic chemistry between these two high school friends delivers unmatched, easygoing musicality. Their arrival took shape through weekender basement shows in Bethesda and the labyrinthine DIY community in Arlington and D.C. before finally making their move to Philadelphia to hit with cornerstone groups like Modern Baseball, ultimately solidifying their place in the scene. Joined by Ben Kaunitz (guitar, bass) and Coby Haynes (drums, percussion) in 2018, the live lineup has evolved from a sonic rough-and-tumble to a fully collaborative space, encouraging a new era of thematic cohesion. After opening up the creative dialogue beyond just a duo, the band's sound has been able to make a mature tonal shift in style and form. Following the release of 2017's The Obsessives (Lame-O Records), the band has spent a lot of time compartmentalizing and re-shaping their projects. The difference between being 18 and 24 isn't the world, but at the same time _ it is. The Obsessives' sound has grown up with and around them, and is ultra-specific to what they feel are various catalytic experiences. The determinant factor that sets 2015's Heck No Nancy (Near Mint Records) apart from 2021's forthcoming release under producer Will Yip (Memory Music) is an entire set of lives that's been lived. The best part is _ they dig it as much as you will.

Surf Curse is the indie rock recording project of Los Angeles based songwriters Nick Rattigan and Jacob Rubeck. Seeing Surf Curse live has become a right of passage for disaffected adolescence in the South-West while Rattigan and Rubeck have spent their formatives years between Las Vegas, Reno, and Los Angeles. Nothing Yet is the 2nd Full Length from the band released in 2017.

Hear Current Joys tear through a live set of fan favorites recorded last winter at Kilby Court in Salt Lake City, Utah. This 14 track set is the first time one of Current Joys' visceral live performances has been captured for vinyl and released digitally online. The four-piece plays full-band arrangements of Current Joys classics like "Blondie" "Kids" and "My Motorcycle" as well as a new unreleased track "Altered States."Recorded February 22, 2019, at Kilby Court in Salt Lake City, UtahGuitar & Vocals: Nick RattiganKeys & Vocals: Maddy BoydBass: Aaron JassenoffDrums: Jackson Katz"Current Joys (and its former incarnation TELE/VISIONS) is the quiet and affecting solo project of Nick Rattigan (...) You can affix it with any number of labels - minimalist bedroom pop, spare indie balladry - but whatever the assignation, the music is devastatingly pure. (...) Current Joys is the rare project that manages to transcend its simplistic trappings and achieve something like musical grace. " [Alex McLevy] - AV Club "Nick Rattigan sings and plays drums in the surf-rock band Surf Curse, but he's been doing more and more with the solo bedroom pop songs he writes under the name Current Joys. Propelled by sinewy guitar lines and sweeping synths, songs like "Fear" reflect on the underbelly of modern life without resorting to self-pity. " [Stephen Thomson] - NPR Music

Food for Worms, their explosive third record, sees shame enter a new, surreal landscape, as reflected in the cover art designed by acclaimed artist Marcel Dzama. It's suggestive of what is left unsaid, what lies beneath the surface, the farcical and fantastical everyday that we are living in, in a society where both everything and nothing is possible. On the one hand, new album Food for Worms calls to mind a certain morbidity, but on the other, it's a celebration of life; the way that, in the end, we need each other. The album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share. For the first time, the band are not delving inwards, but seeking to capture the world around them. Now they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which singer Charlie Steen declares to be "the Lamborghini of shame records." The album crashed into life faster than anything they'd created before. The band recorded it while playing festivals all over Europe. That live energy, what it's like to witness shame in their element, is captured perfectly on record - like lightning in a bottle. The album marks a sonic departure: shame have abandoned their post-punk beginnings for far more eclectic influences, drawing from the sharp yet uncomplicated lyrical observations of Lou Reed and the more melodic works of 90s German band, Blumfeld. They called upon renowned producer Flood (Nick Cave, U2, PJ Harvey, Foals) to execute their vision. Recording each track live meant a kind of surrender: here, the rough edges give the album its texture; the mistakes are more interesting than perfection. In a way, it harks back to the title itself and the way that with this record, the band are embracing frailty and by doing so, are tapping into a new source of bravery.

Jacob Morris is from Athens, Georgia. He started playing cello in Austin, TX at the age of four, and played with his musical family until he left home. The unique music community that is Athens attracted him years back. and since then he has supported some of its finest musicians and songwriters playing cello, guitar, bass, and keys with artists such as Ham 1, Vic Chesnutt, Liz Durrett, Madeline, and currently Patterson Hood of the Drive-By Truckers. Taking cues from the psychedelic pop and folk of this robust scene, Jacob has crafted a stellar debut wit...

Wenn es keine beschissene Musik gäbe, wären THE RADICAL SONS keine Band. Angepisst von den hohlen Emokids im amreikanischen Mittleren Westen und den alternden Hippies wurden Nick Risler und Benjamin Goldstein schnell Freunde, die zusammen abhingen, sich in CHUCK BERRY Konzerte schlichen, ohne zu bezahlen und im lokalen Underground Radio Platten von TELEVISION und VELVET UNDERGROUND spielten. Eine leise Revolution. Doch wie so manche Geschichten dieser Art laufen, hatten unsere Helden bald Lust auf Lautstärke, rekrutierten zwei weitere Freunde und teilten sich die Bühnen mit Bands wie SOMEONE STILL LOVES YOU BORIS YELTSIN, BE YOUR OWN PET order LITTLE JOY, bis sie im Sommer 2008 anfingen, das zu schreiben, was ihre "Throwing Knives" EP werden sollte. Fünf kurze, schicke Songs zwischen ultratrockenem Gesang und schrebbelnden Gitarren. [ENG]If it wasn't for shit music, Radical Sons probably wouldn't exist. Bummed out by the meathead Midwestern emo kids and aging hippie wannabes which they found themselves surrounded by, St. Louis teens Nick Risler and Benjamin Goldstein became fast friends. Hanging at the Delmar Loop. Sneaking into the monthly Chuck Berry gigs at Blueberry Hill. Playing old Television and Velvet Underground records after school on their localunderground radio station. You could call it their own quiet rebellion. But like so many of these stories go, it wasn't long before the call to crank the volume overtook them. So Rislerand Goldstein dutifully answered, picking up a couple guitars and enlisting the services of Geoffrey Phillips and Patrick Shields to fill out a rhythm section and bring Radical Sons tolife. The boys soon got attention by opening for critically acclaimed bands like Someone Still Loves You Boris Yeltsin, Be Your Own Pet, and Little Joy. In the summer of 2008, St.Louis' Radical Sons began writing songs that would eventually become their Throwing Knives EP. The songs are short and sweet- complimented by Ben Goldstein's deadpan vocal Delivery and a fleet of strummed-to-d...

Very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 Roir tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo Tr808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

The tenth studio album by Bjork on cassette tape.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

Deluxe 2CD Rigid Slipcase / Digi Brand new compilation by Nick Cave & Warren Ellis - with 27 rare and unreleased tracks from 2006 to 2020

Nick Lowe strikes again with a brand new EP, Lay It On Me, where he is once again joined by his gang of masked musicians, Los Straitjackets. The limited edition EP features two new originals from Nick, "Lay It On Me Baby" and "Don't Be Nice to Me," plus a cover of Dorsey Burnette's "Here Comes That Feeling" (made famous by Brenda Lee). Nick's wordplay and razor-sharp lyrics shine bright with the twang-friendly tones of Los Straitjackets behind him. On Side B of the EP is the first track that Nick has produced in over two decades that wasn't one of his own performances: Los Straitjackets turning Shocking Blue/Bananarama's "Venus" into a surf rock staple.

The Düsseldorf duo BAR, consisting of Stabil Elite musician Lucas Croon and Christina Irrgang, debuts with a musical hybrid between New Wave, Balearic, Shoegaze, Dream Pop and Noir Songwriting. Lucas Croon sings as if he had studied with Nick Cave, Brian Ferry and Chris Isaac. The lady at his side, Christina Irrgang, is no less elegant: Her timbre seems completely absorbed in the music, and yet it somehow floats above it, bold and cool. The effect is reminiscent of Claudia Brücken from the Düsseldorf synthpop band Propaganda, whose magical coldness was simply an extremely fascinating form of white soul.