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Search Result for Genre ROCK
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3LP/4CD/SHIRT BOX
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MEGAUK 030BOX
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$130.00
PREORDER
RELEASE DATE: 4/26/2019
Massively delayed, label says it possibly arrives sometime in 2019, format may change. The Karen Dalton Archives Box includes for the first-time ever on vinyl: the 1962 double live album Cotton Eyed Joe remastered (on two LPs) and the 1963 home recordings album Green Rocky Road remastered. Also includes three CDs of the same material along with one CD of unreleased home recordings which includes a mesmerizing take on "God Bless The Child". Includes a 52-page book with scans of Karen Dalton Personal Archives (writings, photographs, memos) disclosed here for the first time. DVD of a film interview of Greenwich Village Folklore Center founder (1957-1973) Izzy Young by Megaphone label's Stéphane Bismuth about the Greenwich Village folk scene and Karen Dalton; Double-sided DVD with one side NTSC format/one side PAL format Includes digital download card.
Press about Cotton-Eyed Joe (1962/2007) and Green Rocky Road (1963/2008):
"All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker."
"Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of 'Katie Cruel' on In My Own Time has been hailed as definitive but she improves it here. Bewitching."
"Proving her masterly command of both the material and the audience."
"Using her uncluttered fingerpicking and keening phrasing to a reimagine a pair of lesser known Ray Charles numbers to devastating effect."
"Sounds great. The set captures a side of Dalton that her original releases never could. Such a personal statement it's far more challenging."
"An invaluable treasure" --Pitchfork, 8/10.
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LP
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HPS 093LP
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$23.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. High Reeper is back with their second release Higher Reeper and they aren't fucking around. The sound and smell of leather, weed, and death now has a hint of Campari and cocaine to color all eight tracks. With the addition of their new drummer Justin Di Pinto, High Reeper has managed to focus their sound and expand it at the same time. The record is darker and heavier than their first offering, High Reeper (HPS 072CD/LP/LTD-LP, 2018) with guitars that crush like a tank and lyrics that paint a picture of the world nearing its end. While the sound of Higher Reeper is more focused, at the same time it manages to be more complex and varied. With tracks ranging from ones as heavy as the album opener, "Eternal Leviathan", to the ethereal ballad "Apocalypse Hymn", this album takes one all the way to hell and leaves one there to rot. Higher Reeper was again produced, engineered and mixed by bass player Shane Trimble at TTR studios and Delwood Sound and mastered by Mike Tarsia. Solomacello created the incredible cover that captures the mood of the record while giving a nod to classic heavy metal.
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CD
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TR 432CD
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$17.00
PREORDER
RELEASE DATE: 4/12/2019
6 Lenins, the third album release from The Proper Ornaments, sees the band master their seemingly effortless but finely-wrought sound as their songwriting prowess refuses to plateau. Fresh from an US tour in autumn 2018, the London jangle pop group led by James Hoare (also of Ultimate Painting/Veronica Falls) and Max Claps (Toy) went into James' home studio in Finsbury Park, London and made their finest recordings to date on a newly-installed 16 track Studer machine -- joined by Danny Nellis (Charles Howl) on bass and Bobby Syme (Wesley Gonzalez) on drums. Having escaped deep, twisting tunnels of illness, divorce and drug abuse to release their second record in January 2017, it's unsurprising they sound sunnier this time around. What their supremely melodic work suggests is a nonchalance or naivety but is in fact an expensively-bought slice of coherence and clarity within a constantly shifting backdrop to their lives and landscapes. The band exists as an unassuming and resilient organism in a fiercely competitive, trashed environmental niche. Throughout their years of hard-edged music industry Darwinism, they've shown longevity and growth scuttling from the wreckage of their previous guitar bands to become one united organism. "We started writing new songs in the summer. I was in bed recovering from hepatitis and very broken and tired so couldn't do anything else apart from playing guitar," says Max, "and the songs slowly started to appear. In August we realized we had five new songs each and free time, so we decided to record them. The actual recording only took two weeks and it was considerably easier than our previous recordings." The speed with which 6 Lenins was made suggests the two songwriters managed to keep a keen focus on what they wanted to achieve, further finessing the balance of conflict and collaboration that lends their sweet, succinct tunes their nervous energy; this is well-crafted songwriting and controlled sonics despite a zealous analog sensibility. The opener "Apologies", sets out stridently and the mood and momentum, even as one weaves through some more somber moments, never dips before soaring with the Velvets-y propeller riff of live favorite "In the Garden" to end the record.
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CD
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HPS 096CD
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$16.50
PREORDER
RELEASE DATE: 4/12/2019
The Little Villains' debut album Philthy Lies is a half hour slice of rock-n-roll dream cake! Somehow as if heaven sent a rare treat, one can experience the exceptional and ferocious talent of the late Phil "Philthy Animal" Taylor one more time! Yes, the very same Taylor that provided the pioneering backbeats to all the albums as a member of the classic lineup of the iconic rock group Motörhead. Coupled with the solid hook-led songwriting and guitar craft from Mr. James A Childs who also fronts the desert rock band Avon, and the youthful thrashing energetic bass guitarist Owen Street of the Welsh sludge duo Vails, this makes for a killer combination. The band's rapport is evident throughout the record; their relaxed and candid approach and repartee is well-captured. Like a nomad scene from the Mad Max: Road Warrior (1981) movie, cars fully laden with instrumental weaponry speed across the desert. Tracks were laid for the album at Unit A Studios in Palm Springs, California in February 2007. Philthy Lies was produced and engineered on two-inch tape by Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. Philthy Lies is a testament to Taylor's professionalism and is proof that he was still every bit the rock and roll giant, even 15 years after his departure from Motörhead.
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LP
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HPS 099LTD-LP
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$31.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. Limited edition fluorescent green vinyl. Oreyeon's sophomore album, Ode To Oblivion comes after two years of experimental sessions in their little studio recording nestled between the sea and the mountains in the northwest of Italy. This new full-length combines all band members' musical influences and takes shape leaving behind and going beyond the rules that mostly describe the classical stoner rock genre. From the first track, a strong sense of nothingness blends into a long unsettling travel through a microcosm full of colors while black shapes lead the traveler into a spiral of nihilistic lyrics, title tracks and monolithic riffs all at the same time. A pinch of the '90s vocals legacy gives this full length a gloominess that crowns a long period of rehearsals playing and jamming over all sorts of musical borders. The album has a start and an ending; along with what's in the middle, it all seems to be connected by a long line of heavy-psych-stoner rifts that evokes the feeling of listening to the mighty Blues For The Red Sun (1992) from desert legends Kyuss. It sounds like a long suite that never ends; the vocal structures and harmonization are more complex, and melodically richer while the music tends towards a heavier path, taking cues from way different kinds of genres and band references.
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LP
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TR 432LP
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$22.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. 6 Lenins, the third album release from The Proper Ornaments, sees the band master their seemingly effortless but finely-wrought sound as their songwriting prowess refuses to plateau. Fresh from an US tour in autumn 2018, the London jangle pop group led by James Hoare (also of Ultimate Painting/Veronica Falls) and Max Claps (Toy) went into James' home studio in Finsbury Park, London and made their finest recordings to date on a newly-installed 16 track Studer machine -- joined by Danny Nellis (Charles Howl) on bass and Bobby Syme (Wesley Gonzalez) on drums. Having escaped deep, twisting tunnels of illness, divorce and drug abuse to release their second record in January 2017, it's unsurprising they sound sunnier this time around. What their supremely melodic work suggests is a nonchalance or naivety but is in fact an expensively-bought slice of coherence and clarity within a constantly shifting backdrop to their lives and landscapes. The band exists as an unassuming and resilient organism in a fiercely competitive, trashed environmental niche. Throughout their years of hard-edged music industry Darwinism, they've shown longevity and growth scuttling from the wreckage of their previous guitar bands to become one united organism. "We started writing new songs in the summer. I was in bed recovering from hepatitis and very broken and tired so couldn't do anything else apart from playing guitar," says Max, "and the songs slowly started to appear. In August we realized we had five new songs each and free time, so we decided to record them. The actual recording only took two weeks and it was considerably easier than our previous recordings." The speed with which 6 Lenins was made suggests the two songwriters managed to keep a keen focus on what they wanted to achieve, further finessing the balance of conflict and collaboration that lends their sweet, succinct tunes their nervous energy; this is well-crafted songwriting and controlled sonics despite a zealous analog sensibility. The opener "Apologies", sets out stridently and the mood and momentum, even as one weaves through some more somber moments, never dips before soaring with the Velvets-y propeller riff of live favorite "In the Garden" to end the record.
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LP
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HPS 096LTD-LP
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$31.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. Limited edition color vinyl. The Little Villains' debut album Philthy Lies is a half hour slice of rock-n-roll dream cake! Somehow as if heaven sent a rare treat, one can experience the exceptional and ferocious talent of the late Phil "Philthy Animal" Taylor one more time! Yes, the very same Taylor that provided the pioneering backbeats to all the albums as a member of the classic lineup of the iconic rock group Motörhead. Coupled with the solid hook-led songwriting and guitar craft from Mr. James A Childs who also fronts the desert rock band Avon, and the youthful thrashing energetic bass guitarist Owen Street of the Welsh sludge duo Vails, this makes for a killer combination. The band's rapport is evident throughout the record; their relaxed and candid approach and repartee is well-captured. Like a nomad scene from the Mad Max: Road Warrior (1981) movie, cars fully laden with instrumental weaponry speed across the desert. Tracks were laid for the album at Unit A Studios in Palm Springs, California in February 2007. Philthy Lies was produced and engineered on two-inch tape by Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. Philthy Lies is a testament to Taylor's professionalism and is proof that he was still every bit the rock and roll giant, even 15 years after his departure from Motörhead.
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CD
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HPS 099CD
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$16.50
PREORDER
RELEASE DATE: 4/12/2019
Oreyeon's sophomore album, Ode To Oblivion comes after two years of experimental sessions in their little studio recording nestled between the sea and the mountains in the northwest of Italy. This new full-length combines all band members' musical influences and takes shape leaving behind and going beyond the rules that mostly describe the classical stoner rock genre. From the first track, a strong sense of nothingness blends into a long unsettling travel through a microcosm full of colors while black shapes lead the traveler into a spiral of nihilistic lyrics, title tracks and monolithic riffs all at the same time. A pinch of the '90s vocals legacy gives this full length a gloominess that crowns a long period of rehearsals playing and jamming over all sorts of musical borders. The album has a start and an ending; along with what's in the middle, it all seems to be connected by a long line of heavy-psych-stoner rifts that evokes the feeling of listening to the mighty Blues For The Red Sun (1992) from desert legends Kyuss. It sounds like a long suite that never ends; the vocal structures and harmonization are more complex, and melodically richer while the music tends towards a heavier path, taking cues from way different kinds of genres and band references.
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LP
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HPS 099LP
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$23.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. Oreyeon's sophomore album, Ode To Oblivion comes after two years of experimental sessions in their little studio recording nestled between the sea and the mountains in the northwest of Italy. This new full-length combines all band members' musical influences and takes shape leaving behind and going beyond the rules that mostly describe the classical stoner rock genre. From the first track, a strong sense of nothingness blends into a long unsettling travel through a microcosm full of colors while black shapes lead the traveler into a spiral of nihilistic lyrics, title tracks and monolithic riffs all at the same time. A pinch of the '90s vocals legacy gives this full length a gloominess that crowns a long period of rehearsals playing and jamming over all sorts of musical borders. The album has a start and an ending; along with what's in the middle, it all seems to be connected by a long line of heavy-psych-stoner rifts that evokes the feeling of listening to the mighty Blues For The Red Sun (1992) from desert legends Kyuss. It sounds like a long suite that never ends; the vocal structures and harmonization are more complex, and melodically richer while the music tends towards a heavier path, taking cues from way different kinds of genres and band references.
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CD
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HPS 093CD
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$16.50
PREORDER
RELEASE DATE: 4/12/2019
High Reeper is back with their second release Higher Reeper and they aren't fucking around. The sound and smell of leather, weed, and death now has a hint of Campari and cocaine to color all eight tracks. With the addition of their new drummer Justin Di Pinto, High Reeper has managed to focus their sound and expand it at the same time. The record is darker and heavier than their first offering, High Reeper (HPS 072CD/LP/LTD-LP, 2018) with guitars that crush like a tank and lyrics that paint a picture of the world nearing its end. While the sound of Higher Reeper is more focused, at the same time it manages to be more complex and varied. With tracks ranging from ones as heavy as the album opener, "Eternal Leviathan", to the ethereal ballad "Apocalypse Hymn", this album takes one all the way to hell and leaves one there to rot. Higher Reeper was again produced, engineered and mixed by bass player Shane Trimble at TTR studios and Delwood Sound and mastered by Mike Tarsia. Solomacello created the incredible cover that captures the mood of the record while giving a nod to classic heavy metal.
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LP
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HPS 096LP
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$23.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. The Little Villains' debut album Philthy Lies is a half hour slice of rock-n-roll dream cake! Somehow as if heaven sent a rare treat, one can experience the exceptional and ferocious talent of the late Phil "Philthy Animal" Taylor one more time! Yes, the very same Taylor that provided the pioneering backbeats to all the albums as a member of the classic lineup of the iconic rock group Motörhead. Coupled with the solid hook-led songwriting and guitar craft from Mr. James A Childs who also fronts the desert rock band Avon, and the youthful thrashing energetic bass guitarist Owen Street of the Welsh sludge duo Vails, this makes for a killer combination. The band's rapport is evident throughout the record; their relaxed and candid approach and repartee is well-captured. Like a nomad scene from the Mad Max: Road Warrior (1981) movie, cars fully laden with instrumental weaponry speed across the desert. Tracks were laid for the album at Unit A Studios in Palm Springs, California in February 2007. Philthy Lies was produced and engineered on two-inch tape by Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. Philthy Lies is a testament to Taylor's professionalism and is proof that he was still every bit the rock and roll giant, even 15 years after his departure from Motörhead.
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LP
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HPS 093LTD-LP
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$31.00
PREORDER
RELEASE DATE: 4/12/2019
LP version. Limited edition splatter vinyl. High Reeper is back with their second release Higher Reeper and they aren't fucking around. The sound and smell of leather, weed, and death now has a hint of Campari and cocaine to color all eight tracks. With the addition of their new drummer Justin Di Pinto, High Reeper has managed to focus their sound and expand it at the same time. The record is darker and heavier than their first offering, High Reeper (HPS 072CD/LP/LTD-LP, 2018) with guitars that crush like a tank and lyrics that paint a picture of the world nearing its end. While the sound of Higher Reeper is more focused, at the same time it manages to be more complex and varied. With tracks ranging from ones as heavy as the album opener, "Eternal Leviathan", to the ethereal ballad "Apocalypse Hymn", this album takes one all the way to hell and leaves one there to rot. Higher Reeper was again produced, engineered and mixed by bass player Shane Trimble at TTR studios and Delwood Sound and mastered by Mike Tarsia. Solomacello created the incredible cover that captures the mood of the record while giving a nod to classic heavy metal.
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LP
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HPS 094LTD-LP
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$31.00
PREORDER
RELEASE DATE: 3/29/2019
LP version. Limited edition splatter vinyl. Crypt Trip returns! Following their last album Rootstock (HPS 079CD/LP/LTD-LP, 2018), the Texas rockers are delivering more cosmic American sounds straight to your ears, mind, and soul. Their new album, Haze County, sonically and lyrically explores the complexities of space and time and then brings you back down to the very Earth you're made of. Nine new songs make up the band's most focused and organic effort to date. Mixing elements of hard rock, psychedelic, and rural music, each track is unique and has something different to say. Loud Fender amps and a pounding rhythm section immerse you in an enticing groove on some tracks, while dreamy guitars take you away in others. Staying true to a Texas tradition, the album features a special guest, Geoff Queen, on pedal steel, adding an entirely different color to the tonal palette. Haze County was recorded and mixed by James Campbell at Cibolo Studios in San Antonio, Texas. It was mastered by Jerry Tubb at Terra Nova Digital Audio in Austin, Texas. High quality analog equipment was used at every stage of production for the best possible "vintage" sound. For fans of: The James Gang, Epitaph, The Byrds, Lynyrd Skynyrd, Humble Pie, Allman Brothers Band, Bubble Puppy, Homer, Jericho Jones, Flying Burrito Brothers, Waylon Jennings, Led Zeppelin, Grateful Dead.
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CD
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HPS 094CD
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$16.50
PREORDER
RELEASE DATE: 3/29/2019
Crypt Trip returns! Following their last album Rootstock (HPS 079CD/LP/LTD-LP, 2018), the Texas rockers are delivering more cosmic American sounds straight to your ears, mind, and soul. Their new album, Haze County, sonically and lyrically explores the complexities of space and time and then brings you back down to the very Earth you're made of. Nine new songs make up the band's most focused and organic effort to date. Mixing elements of hard rock, psychedelic, and rural music, each track is unique and has something different to say. Loud Fender amps and a pounding rhythm section immerse you in an enticing groove on some tracks, while dreamy guitars take you away in others. Staying true to a Texas tradition, the album features a special guest, Geoff Queen, on pedal steel, adding an entirely different color to the tonal palette. Haze County was recorded and mixed by James Campbell at Cibolo Studios in San Antonio, Texas. It was mastered by Jerry Tubb at Terra Nova Digital Audio in Austin, Texas. High quality analog equipment was used at every stage of production for the best possible "vintage" sound. For fans of: The James Gang, Epitaph, The Byrds, Lynyrd Skynyrd, Humble Pie, Allman Brothers Band, Bubble Puppy, Homer, Jericho Jones, Flying Burrito Brothers, Waylon Jennings, Led Zeppelin, Grateful Dead.
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LP
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HPS 094LP
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$23.00
PREORDER
RELEASE DATE: 3/29/2019
LP version. Crypt Trip returns! Following their last album Rootstock (HPS 079CD/LP/LTD-LP, 2018), the Texas rockers are delivering more cosmic American sounds straight to your ears, mind, and soul. Their new album, Haze County, sonically and lyrically explores the complexities of space and time and then brings you back down to the very Earth you're made of. Nine new songs make up the band's most focused and organic effort to date. Mixing elements of hard rock, psychedelic, and rural music, each track is unique and has something different to say. Loud Fender amps and a pounding rhythm section immerse you in an enticing groove on some tracks, while dreamy guitars take you away in others. Staying true to a Texas tradition, the album features a special guest, Geoff Queen, on pedal steel, adding an entirely different color to the tonal palette. Haze County was recorded and mixed by James Campbell at Cibolo Studios in San Antonio, Texas. It was mastered by Jerry Tubb at Terra Nova Digital Audio in Austin, Texas. High quality analog equipment was used at every stage of production for the best possible "vintage" sound. For fans of: The James Gang, Epitaph, The Byrds, Lynyrd Skynyrd, Humble Pie, Allman Brothers Band, Bubble Puppy, Homer, Jericho Jones, Flying Burrito Brothers, Waylon Jennings, Led Zeppelin, Grateful Dead.
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LP
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HPS 091LTD-LP
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$31.00
PREORDER
RELEASE DATE: 3/15/2019
LP version. Limited red and purple vinyl. With The Final Exorcism, Dead Witches roar back from the studio on two wheels, Chuckalumba, where the fabled sessions for Dopethrone (2000) and Let Us Prey (2002) by Electric Wizard were recorded, as well as Dead Witches' debut Ouija (HPS 048CD/LP/LTD-LP, 2017). Sessions began on the full moon, 25th August in the heart of the New Forest deep in Dorset, the hallowed home of '90s doom legends Electric Wizard folklore, marking Mark's fourth time in both bands at Chuckalumba. John Stephens, operating the living museum of antique analog and valve-driven studio gear and tape machines captured a world of demons and possessions. A banshee wail of woeful siren song weaving a sinister world of horror doom, through waves of burgeoning fuzz and hell-sent thunder on the drum kit. Realizing the magnitude of what they had committed to tape, Dead Witches began to seek Doug Shearer, wizard of mastering and the final member in the coven, his previous also including Dopethrone and Let Us Prey.
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2CD
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N 77064CD
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$20.00
PREORDER
RELEASE DATE: 3/15/2019
Blues at Onkel Pö's Carnegie Hall. Lousiana Red was one of the most famous blues guitarists, known for his unique style. By the way, the stage name "Louisiana Red" (there have been other names as well) refers to a hot sauce customary in the delta-state of Mississippi. Customary, just as the extremely archaic blues of which Louisiana Red has always been a paradigmatic representative; this was also the case on that particular evening in June 1977, when he, the blues import from across the Atlantic, was alone on stage of "Onkel Pö's Carnegie Hall" in Hamburg-Eppendorf, accompanied only by his guitar and his mouth-organ. This legendary concert is one of the highlights of the Onkel Pö series. Recorded on June 14, 1977 at Onkel Pö's Carnegie Hall, Hamburg, Germany; Recorded by NDR Hamburg. Features extended liner notes in English and German by Michael Laages. Double-CD version includes 12-page booklet.
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LP
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GONE 145LP
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$20.00
PREORDER
RELEASE DATE: 3/15/2019
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LP
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AUK 045LP
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$20.00
PREORDER
RELEASE DATE: 3/15/2019
LP version. 180 gram, clear vinyl; superb deluxe packaging.
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CD
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AUK 045CD
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$14.50
PREORDER
RELEASE DATE: 3/15/2019
The Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just seven months after their last one, Something Else (AUK 043CD/LP). The self-titled, nine-track album is released on Anton Newcombe's A Recordings, and it was recorded and produced at Anton's Cobra Studio in Berlin. The album was originally going to be released in September of 2018, but due to a hugely successful global tour -- taking in USA, Canada, Australia, New Zealand and Europe -- the release was delayed. Recorded in early 2018, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM, Third Sound, Gunman, Holy Ghost) on guitar, and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on "Tombes Oubliées" is Rike Bienert who has sung on previous BJM albums. The band performed songs from the album throughout the European leg of the 2018 tour. Anton Newcombe has been a very busy man over the past few years, having released four critically-acclaimed Brian Jonestown Massacre albums and an EP, one soundtrack album, and two albums with Tess Parks. All releases were fully recorded and produced at Anton's studio. The Brian Jonestown Massacre track "Bon Bon" was used in the 2015 Palm D'Or winner Dheepan. Anton penned the soundtrack for Moon Dogs, a film directed by multi-BAFTA nominated Philip John (Svengali, Downton Abbey, Being Human). LP version comes on 180 gram, clear vinyl LP; superb deluxe packaging.
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LP
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TR 427LP
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$22.00
PREORDER
RELEASE DATE: 3/15/2019
LP version. Some time ago... "The J.D. Salinger of pop" was how Rolling Stone France described Bill Pritchard after the release of Mother Town Hall in 2016 (TR 320CD/LP), while the editor of Rolling Stone Germany made Mother Town Hall his "Album of The Week" -- just a few of the many accolades heaped on Pritchard's last record. Then there was the reissue of the now legendary album Parce Que, originally released in 1988, which Pritchard recorded with the much-missed Daniel Darc. It too was feted by -- among others -- Le Monde, Le Nouvel Obs, Télérama, Les Inrockuptibles, and Libération. And now... Midland Lullabies. This is the album Pritchard always wanted to make. Why?: Because he always wanted to make a mark as a "shabby suited crooner". Midland Lullabies is songs from the Midlands about continental issues bathed in a crooning, piano drenched style that Pritchard has been perfecting over two years. Complete with sumptuous, at times almost Brechtian strings. You'll visit "Iolanda", a tragic Parisian heroine who you could meet in the newsagents in Wednesbury or in a cemetery in Montmartre. "Hey Iolanda, eat your curly fries and celebrate!" On "Forever" you may ask yourself: "Are you in Shibuya, Hamburg or Birmingham or just inside Pritchard's head?" "The Last Temptation of Brussels"! Well, there is a plaque about the fight between two symbolist scribblers in Brussels. Is Pritchard recounting French poetic history or his own? Or is it all just '60s swagger? Whether Pritchard is riding "a scooter bathed in pink" or watching life changed by thoughtless intent, even if he listens as "Lucifer sings on an out of tune piano", he always keeps his dream of writing the perfect pop song alive. On "Thanks" Bill tells you about "photo shutters in black and white, an image of the door to the moon". Has he been staying in the Beat Hotel? Or rather The Waggon and Horses? Whatever! What a beautiful, plaintive, almost mystical song "Thanks" is. Produced again beautifully by Tim Bradshaw, Pritchard says that from the very outset he insisted on a stripped-down sound, utilizing Tim's brilliant, subtle and sympathetic piano interpretations of his songs. They know each other so well! All in all a case of less is more!
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CD
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GONE 145CD
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$15.00
PREORDER
RELEASE DATE: 3/15/2019
"The whole 'five band years = a lifetime' biz trope is justified, if not negated, by the second album from Sydney's Low Life. Arriving with an aura of anticipation, Downer Edn (read: Edition) feels like a collective document of the band's timeline since their unforgettable debut Dogging -- an album which made enough of a mark on the punk landscape in 2014 to justify a reissue on London's Alter in 2017. Recorded over two years and mixed in 2018 by Mikey Young (Total Control / Eddy Current Suppression Ring), Downer Edn sees the core trio of Mitch Tolman, Cristian O'Sullivan and Greg Alfaro expand their ranks to a five piece. Dizzy Daldal of Oily Boys & Orion was brought in to reinforce the thick wall of guitars, whilst fifth member Yuta Matsumura, also of Oily Boys & Orion, re-joined the group later to free Tolman up as a dedicated front man for live duties. The hours of studio work have resulted in making the band sound more confident and fully realised, reaching for and finding a sound that was perhaps unattainable five years prior. However, lurking behind the bigger vision and polished production is a complex proposition and a dark blast of an album. As far as Australian punk is concerned, this album not only shatters the boundaries, it does so with the lushest attack conceivable. Like their (admitted) influence, the enigmatic Ohio legends of obscurity, V3, seldom has the fuck word been sung (repeatedly) in such a believable and poetic manner. The visceral pounding of melodies throughout the album transforms their inspirations; desperation, neuroses, trauma, survival, hooliganism, violence, hope, rejuvenation, and their hometown of Sydney's full architectural and social scope -- from a realm of intangibility to the very, very tangible."
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CD
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HPS 091CD
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$16.50
PREORDER
RELEASE DATE: 3/15/2019
With The Final Exorcism, Dead Witches roar back from the studio on two wheels, Chuckalumba, where the fabled sessions for Dopethrone (2000) and Let Us Prey (2002) by Electric Wizard were recorded, as well as Dead Witches' debut Ouija (HPS 048CD/LP/LTD-LP, 2017). Sessions began on the full moon, 25th August in the heart of the New Forest deep in Dorset, the hallowed home of '90s doom legends Electric Wizard folklore, marking Mark's fourth time in both bands at Chuckalumba. John Stephens, operating the living museum of antique analog and valve-driven studio gear and tape machines captured a world of demons and possessions. A banshee wail of woeful siren song weaving a sinister world of horror doom, through waves of burgeoning fuzz and hell-sent thunder on the drum kit. Realizing the magnitude of what they had committed to tape, Dead Witches began to seek Doug Shearer, wizard of mastering and the final member in the coven, his previous also including Dopethrone and Let Us Prey.
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2LP
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N 78064LP
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$26.50
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RELEASE DATE: 3/15/2019
Double LP version. 180 gram vinyl; gatefold sleeve.
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CD
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TR 427CD
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$17.00
PREORDER
RELEASE DATE: 3/15/2019
Some time ago... "The J.D. Salinger of pop" was how Rolling Stone France described Bill Pritchard after the release of Mother Town Hall in 2016 (TR 320CD/LP), while the editor of Rolling Stone Germany made Mother Town Hall his "Album of The Week" -- just a few of the many accolades heaped on Pritchard's last record. Then there was the reissue of the now legendary album Parce Que, originally released in 1988, which Pritchard recorded with the much-missed Daniel Darc. It too was feted by -- among others -- Le Monde, Le Nouvel Obs, Télérama, Les Inrockuptibles, and Libération. And now... Midland Lullabies. This is the album Pritchard always wanted to make. Why?: Because he always wanted to make a mark as a "shabby suited crooner". Midland Lullabies is songs from the Midlands about continental issues bathed in a crooning, piano drenched style that Pritchard has been perfecting over two years. Complete with sumptuous, at times almost Brechtian strings. You'll visit "Iolanda", a tragic Parisian heroine who you could meet in the newsagents in Wednesbury or in a cemetery in Montmartre. "Hey Iolanda, eat your curly fries and celebrate!" On "Forever" you may ask yourself: "Are you in Shibuya, Hamburg or Birmingham or just inside Pritchard's head?" "The Last Temptation of Brussels"! Well, there is a plaque about the fight between two symbolist scribblers in Brussels. Is Pritchard recounting French poetic history or his own? Or is it all just '60s swagger? Whether Pritchard is riding "a scooter bathed in pink" or watching life changed by thoughtless intent, even if he listens as "Lucifer sings on an out of tune piano", he always keeps his dream of writing the perfect pop song alive. On "Thanks" Bill tells you about "photo shutters in black and white, an image of the door to the moon". Has he been staying in the Beat Hotel? Or rather The Waggon and Horses? Whatever! What a beautiful, plaintive, almost mystical song "Thanks" is. Produced again beautifully by Tim Bradshaw, Pritchard says that from the very outset he insisted on a stripped-down sound, utilizing Tim's brilliant, subtle and sympathetic piano interpretations of his songs. They know each other so well! All in all a case of less is more!
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