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viewing 1 To 25 of 61 items
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CD
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AGF 026CD
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The Dissidentova audio collection is another edition of feminist language exploration by the artist, music producer and poet Antye Greie-Ripatti, aka AGF. This time her work focuses on poetry, sound art, and the her-story in Russia from the mid-18th century to the present day. AGF chooses 15 iconic figures in Russian culture and creates fragmented tributes, placing them in chronological order. She invited Russian musicians and sound artists to collaborate with her as a reflection of the musical landscape of Russia today. Features the work of Ekaterina Urusova, Anna Bunina, Zinaida Gippius, Elena Guro, Emma Goldman, Alexandra Kollontai, Anna Akhmatova, Marina Tsvetaeva, Nadezhda Mandelstam, Olga Berggoltz, Elena Shvartz, Unknown Russian Austronaut, Anna Politkovskaya, Anna Gorenko (Carp), Nadezhda Tolokonnikova, and Galina Rymbu. Features Gubaidulina and an old Russian oven door. Includes booklet with liner notes.
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BEC 5161989
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2018 repress; silver foil gatefold LP version with white inner sleeve; includes CD. Once a soft-spoken singer-songwriter, Soko's music quickly caught up with her untamable persona. In 2012, Soko released her debut album I Thought I Was an Alien (BEC 5161135). The album featured the track "We Might Be Dead By Tomorrow," soundtrack to the video "First Kiss," which has clocked about 100 million views. The track skyrocketed to the Top 10 of the Billboard Charts and did about 11.5 million streams (No. 1 Debut On Streaming Songs). Soko has now revamped her once innocent yet morbid folk into an insolent follow-up record, My Dreams Dictate My Reality. Produced by the legendary Ross Robinson (who has also produced her favorite band, The Cure), the album features the hypnotic duet "Lovetrap" with friend and lo-fi wizard Ariel Pink, who also appears on "Monster Love." '80s new-wave influences meet post-punk, with great hooks and melodies and the potential for some major hits, including "Who Wears the Pants."
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BEC 5161153
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2018 repress. Amadou & Mariam have long cultivated a spirit of openness that they often put into practice with musicians from all backgrounds and styles. On trips into detours, their planetary journey have allowed the couple to forge lasting friendships M. and Vincent Segal were their guests, Keziah Jones and K'naan also interacted, the Lebanese trumpeter Ibrahim Maalouf and British guitarist Johnny Marr were invited to jam, Manu Chao and Damon Albarn produced them with skill -- no doubt, the Malian couple's history is written in the plural suggestive of their affinities. Their land, Mali, is currently one of the most attractive centers of globalized music. The couple still draws from their region's inspiration, a living spring they draw from beyond their region. Such is the strength of Folila, reflecting a growing openness to the world of music. "The idea was to produce two albums: a crossover in New York, centered around meetings, and the other more roots in Bamako, with guests mainly African," says Marc-Antoine Moreau, their loyal manager and artistic director, with sound engineer Antoine Halet. Stage one was recorded in three weeks at the Cooper Square Hotel, which accommodated multiple guests, including Santigold, who puts her voice on "Dougou Badia." Tunde and Kyp, the two black poets of the combo TV On The Radio, slide naturally on "Wally Katasso," a ballad mixed by Keni Takamoto, the sound engineer for Danger Mouse. As for Theophilus London, the young poet prints a subtle flow of soul-jazz onto "Nebe Meri," perfectly fitting with Amadou's blues accents. Other esthete of great black music, Amp Fiddler brings some Detroit soul on "Wari," before lending his keyboard lines onto "Africa My Africa," boosted by Antibalas' section, the Afro-funk combo from Brooklyn, whose brass gleam here and there. As for Jake Shears, the soul of Scissor Sisters and a fan of the couple since a tour together in England, he served his high-pitched voice on the haunting disco blues of "Metemya." Last but not least, Ebony Bones puts fire on "C'est Pas Facile," a track that flirts with Congolese rumba and electro sounds. During stage two of the process, it was back to Bamako, for another three-week session, this time in the studios of Manjul, a prominent rastaman installed in Mali. He has a clear idea: to use the same basic track, the same tempo, the same tones, but putting it into perspective with long-time friends, like the percussionist Boubacar Dembelé and Yaho the totemic bassist, and guests. Judge for yourself: Bassekou Kouyaté and his ngoni, Idrissa Soumaoro on kamele ngoni, Toumani Diabaté on kora, Zu Tereta on monochord fiddle, Tuareg guitarist Abdallah Oumbadougou: all the best subtle strings of the universe are on this record. This album sounds at once organic and electronic, both roots and rock, both retro and futuristic, and totally unlike anything else.
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BC 033CD
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"In a world where chaos seems to be in control more often than not, music can occasionally be a temporary respite; and at best, a form of salvation. This is the transcendent realm of Okonkolo: Yoruban Santeria music like you have never heard before. Okonkolo transports listeners to another realm; a spiritual dance with gods beyond our grasp, held together by rhythm, passion and musical virtuosity. The group is the life's work of New York-born percussionist and Yoruba Chango priest Abraham 'Aby' Rodriguez. His group quietly released Rezos, a gorgeous 10-Inch EP in 2016 on Brooklyn's Big Crown, and has now returned to give the world even more hypnotic incantations on their debut full length. Featuring nine songs, each of the group's religious epiphanies on Cantos follow a similar path, with transcendently hypnotic results. As with all Santeria ritual musical accompaniment, drums are at the center of all offerings -- namely, the Bata and Coro. In Okonkolo, they are played by Rodriguez, Gene Golden and Xavier Rivera. Building on these rhythms, vocals play an equally important role in the proceedings, sung in Yoruba, contributed by Aby and the powerful female voices of Amma McKen and Jadele McPherson. Although not necessarily musically comparable, conceptually Cantos clearly reminds listeners of artists and albums that effortlessly straddle the line between the sacred and the secularly sublime: Nusrat Fateh Ali Khan's finest work; Ravi Shankar; Alice Coltrane's Journey In Satchidananda; and many more classics released over the past half century. These are albums cherished by fans, which go far deeper than mere entertainment. Along the Cantos journey, strains of music from around the world can be heard -- Africa, South America, the Caribbean and even New York City. Beyond the drums and vocals featured at any traditional Yoruba / Santeria ceremony, with this album there are additional layers that add to the musical beauty: overlaid on top of traditional elements are jazz-associated instrumentation, including horns, bass, guitar and even lush string arrangements. These additional sounds were created by guitarist and producer Jacob Plasse, who first heard and performed with the group more than a decade ago, and who brought the project to the Big Crown label. While Santeria / Yoruban spiritual music is generally associated with Cuba in this hemisphere (and also Bahia, in Brazil), Rodriguez does not fit the traditional pedigree. 'I'm an American,' he proudly admits, with a smile. 'A Puerto Rican from New York. The Cubans I know always ask, 'How can you play this?' And I tell them, 'Don't ask me, ask God.'' The Santeria religion endured the transatlantic slave trade from Africa to the solares of Cuba and arrived in New York City by way of Caribbean migrants who sought a better life in the barrios of the Bronx and Brooklyn. And New York is where Aby Rodriguez first came in contact with Plasse. 'We met in the early '90s, doing salsa gigs over at Plan B in the Lower East Side,' Plasse recalls. 'After I had played there a couple times, Aby told me I should come later the next week, because the first part of the show was going to be different. Needless to say, I came early to see what I wasn't being included in!' He continues, 'Abraham was doing a tambor for Chango. I had never seen anything like it. In Cuba, I had gone to some amazing tambors, but somehow what Aby was doing was different -- it was the bata repertoire but with his own subtle New York doowop thing happening. And in a salsa club no less! It was beautiful and unique, and I wanted to figure out a way to collaborate, even if I had to wait more than 10 years to do it.' On Cantos there are multiple examples of how this musical hybrid can move listeners. Take 'Yemaya,' where plucked guitars break down into dissonant sul pont violin textures. As the batá drums build in intensity the arrangement culminates in guitars and descending clarinet arpeggios, Nick Movshon's propulsive bass brings the piece to a climactic finale. Or 'Canto Asoyin' where an imagined Santeria / Stax session gives way to a gutbucket guitar refrain, before transitioning to a high-life section where ancient and modern Nigerian musical traditions wink slyly at each other. 'Ochun' is sung first by Abraham and then by Amma McKen, and each version is quietly startling. Amma's begins with ominous piano chords that lead to plucked cellos and violins in counterpoint against a soca guitar riff, preceding a decrescendo into baritone sax and viola tremolos. As Amma explains, 'Through the song, there is possession. We are the vehicles through which all of this positive energy flows. It's a language, and it's very sacred.' And then there is 'Obatala,' which has a sublime breakdown where pizzicato violins, violas and cellos mimic the different drums of the batá ensemble. Many listeners will barely register these mercurial arrangements and their admittedly strange juxtapositions against Orisha music. Only upon closer inspection does one become aware of how these ancient songs are being shifted and reimagined, and how they linger ethereally between worlds, just like the orishas."
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BC 044CD
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"When it comes to living legends in the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than vocalist, songwriter and bandleader Sunny Ozuna. Born and raised in San Antonio, where he still resides, Sunny became a star right out of high school in the late '50s and hasn't looked back in the six decades since. After releasing dozens of albums since the mid-1960s (in Spanish and English), Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His classic 45s regularly change hands for hundreds of dollars among collectors around the world, affirming his timeless appeal. As a logical next step after Big Crown's excellent (and Sunny-approved) Mr. Brown Eyed Soul compilation from September, the label has started digging into the vaults of Sunny's Key-Loc Records label to unearth some legit soul classics -- which are hard to find even in San Antonio, and clean originals will cost you a pretty penny if you ever luck into one. The album has been remastered and includes original album art. The band is tight, the sound is honest, the vocals are dusky and deep, and the album is an undeniable soul and Texas music classic, ready to be discovered by a whole new generation of music fans. Dive in and be ready for a permasmile, thanks to that patented Sunny sound."
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BT 039LP
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Black Truffle present the release of Ichida, the first release from the duo of two important, yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O'Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O'Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo's Super Deluxe in March 2013, the set begins as a duet for Ishibashi's flute and Gray's upright bass. Calmly melodic yet harmonically inventive, with shades of "spiritual jazz", the pair's acoustic ruminations are gradually joined by Ishibashi's lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray's bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of '70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O'Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible. Cover pics by Jim O'Rourke. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
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2LP
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BPC 125LP
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2018 repress . Double LP version; originally released 2006. Ellen Allien, the head of the BPitch Control aesthetic steamroller, teams with Apparat, partner in the Shitkatapult brand empire to develop a remarkable sonic salvo.
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12"
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EDREAMS 017EP
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Elastic Dreams presents more left-field techno sounds from one of the scene's more unassuming producers; A Sagittariun delivers a new single stamped with his trademark sound aesthetic. The Fahrenheit 451 EP brings together three new productions ahead of a new album later this year. "The Golden Apple" combines brain-scrambling drums, a heavy bassline, and a Sagi-style wormhole riff, whilst "Blue Lotus" throws tropical shapes into a rapid 4/4 stomper, with scattering hats and equatorial ambience giving a unique vibe. A Sagittariun strays into disco territory on "Liebe Tanzen", flitting among modern intergalactic synth riffs, basslines, and sampled disco drums.
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7"
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EVERLAND 003EP
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Very little is known about the apparent duo Stevens & Foster who had this self-produced release in 1977 on the Jerri Records label from Atlanta, Georgia. Nevertheless, original copies are now very scarce and crazy expensive. For decades, the B side's piano intro has rescued a DJ's dancefloor all over Europe with its seductive qualities of lush strings, muted wah-wah, simplistic but addictive piano. In more recent times it is the A side has also gathered a strong following, using the same instrumental approach but taking the pace right down. Fully restored and officially licensed.
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7"
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EVERLAND 004EP
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Ebonystic hailed from Aiken, South Carolina and were led by Lester Smalls. The group had some members from nearby Augusta, Georgia and they recorded the lovely ballad "Married To One In Love With Another". Smalls's heartfelt lead has minimal group backing, reinforced with some heavyweight horns. Soon after this 45 came out on Scream Records in 1974, the group changed its name to Hearts Of Fire -- there are copies of the disc with the new name inked in and Ebonystic scored out. The B side is a bit unusual, up-tempo dancer with some weird sound ingredients.
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EVERLAND 014LP
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LP version. Everland present a reissue of Shake's Music Is The Only Way We Can Communicate, originally released in 1978.
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EVERLAND 015LP
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LP version. Everland present a reissue of El Internacional Ray Camacho's Mucha Salsa, originally released in 1978.
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EVERLAND 019CD
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Everland present the first ever reissue of Alex Brown's In Search Of Love, originally released in 1970. This extremely well-crafted LP from 1970 is like a holy grail for sixties soul lovers. Just a few hundred promo-only copies were pressed on Sundi Records at the time and clean originals now fetch at least four figure sums. Singer-songwriter Alexandra Brown has worked extensively as a back-up singer with Ray Charles as member of the Raeletts, and with Monk Higgins with whom she wrote and recorded many tracks for his albums and soundtrack projects. Higgins also arranged, conducted, produced, and co-wrote this amazingly great LP, incredibly Alex's one-and-only solo album. It comes in pristine sound quality, drawn from the best known original sources. First ever CD version.
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EVERLAND 019LP
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LP version. Everland present the first ever reissue of Alex Brown's In Search Of Love, originally released in 1970. This extremely well-crafted LP from 1970 is like a holy grail for sixties soul lovers. Just a few hundred promo-only copies were pressed on Sundi Records at the time and clean originals now fetch at least four figure sums. Singer-songwriter Alexandra Brown has worked extensively as a back-up singer with Ray Charles as member of the Raeletts, and with Monk Higgins with whom she wrote and recorded many tracks for his albums and soundtrack projects. Higgins also arranged, conducted, produced, and co-wrote this amazingly great LP, incredibly Alex's one-and-only solo album. It comes in pristine sound quality, drawn from the best known original sources.
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EVERLAND 021CD
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Everland present a reissue of Ruby Andrews's Black Ruby, originally released in 1972. Although for the longest time she has been a Chicago resident, Ruby Andrews's wonderfully dramatic vocals sounds like straight from the deep south of the USA. Actually, that is where she was born in Hollandale, Mississippi, in 1947. She recorded at least six albums that are each highly treasured by soul and funk fans all over the world. Black Ruby, the brilliant second LP from this marvelous soul singer first appeared on the Zodiac label in 1972. Just one minor nationally charted hit came off the LP. But as a whole it is even more revered than her hit-laden predecessor among soul aficionado's. It's considered an exemplary classic of a deep- and Chicago-soul. The music has re-appeared some times in one form or another but the LP was never before fully reissued on high quality vinyl. Everland present the Black Ruby with that beautifully designed and shiny psychedelic album cover. A true gem indeed.
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EVERLAND 021LP
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LP version. Everland present a reissue of Ruby Andrews's Black Ruby, originally released in 1972. Although for the longest time she has been a Chicago resident, Ruby Andrews's wonderfully dramatic vocals sounds like straight from the deep south of the USA. Actually, that is where she was born in Hollandale, Mississippi, in 1947. She recorded at least six albums that are each highly treasured by soul and funk fans all over the world. Black Ruby, the brilliant second LP from this marvelous soul singer first appeared on the Zodiac label in 1972. Just one minor nationally charted hit came off the LP. But as a whole it is even more revered than her hit-laden predecessor among soul aficionado's. It's considered an exemplary classic of a deep- and Chicago-soul. The music has re-appeared some times in one form or another but the LP was never before fully reissued on high quality vinyl. Everland present the Black Ruby with that beautifully designed and shiny psychedelic album cover. A true gem indeed.
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ELJ 008LP
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A reissue of Cecil McBee's Mutima, originally released in 1974. Licensed by Strata-East Records.
"A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era . . . In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. Mutima (translated as 'unseen forces') undoubtedly solidified his stature and brilliance as a major player."--Michael G. Nastos, All Music
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12"
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FAKELOVE 005EP
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FORDIS 004LP
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Far Out Recordings present a reissue of the 1975 self-titled debut album from Brazilian vocalist and bossa nova luminary Emilio Santiago. Nicknamed "the Nat King Cole of Brazil", Santiago was a master bossa balladeer and a top-class crooner. But he is known equally for his Brazilian funk, soul, and boogie classics. One of his best know is album opener "Bananeira", a party-starting version of the song originally written by João Donato and Gilberto Gil. "Brother" is a smooth-grooving killer with great horn arrangements and a huge backing choir, while "La Mulata" is a soulful, swinging salsa stepper. Originally released on the CID label, the album showcases the full range of Emilio's talents, while paying homage to some of Brazil's greatest composers, including Jorge Ben, Marcos and Sergio Valle, and Ivan Lins, among others. The credits on the album are a "who's who" of Brazil's greats, with João Donato on keys, Wilson das Neves, Ivan "Mamão" Conti and Paulinho on drums, Durval Ferreira, Carlos Roberto Rocha and Helio Delmiro on guitar, Ariovaldo, Orlandivo and Chacal on percussion, Danilo Caymmi on flute, a brass section featuring Victor Assis Brasil, Edson Maciel and Jesse Sadoc, and backing vocals from Jaime & Nair, Lúcia Lins, Jurema and Marcio Lott.
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JD 043LP
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South London producer Ben Hauke takes a sonic excursion to South America via Lewisham for a new seven-track release for Far Out Recordings, Only Old. While littered with Afro-Latin percussion, and samples of obscure Brazilian, Cuban, and Colombian records, Only Old stays true to Ben's distinctly London identity, with a record that fluctuates between house, broken beat, and instrumental hip-hop. Having collaborated with the likes of Nubya Garcia and Joe Armon Jones, Ben Hauke stands at the electronic end of London's new jazz movement. Currently working on new releases with more of a focus on live instrumentation, Ben titled the release Only Old as it leans more heavily on his foundational approach to music making: an idiosyncratic, almost brazen sampling style in productions bursting with personality. Always full of character and style, Hauke's productions have seen him likened to Theo Parrish and Madlib, with an altogether physical approach to sound. Title track "Only Old" is moody broken beat with eerie sampled vocals and piano. "Get Up To Get Down" is a light n' breezy summer house stepper, while Brazil-inspired "Runners" sounds as if it was made for MF Doom. 180 gram vinyl. Sleeve design by fellow South London based artist Samuel Lloyd. "Digi Luv" features Eggrum.
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12"
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FAUXPAS 026EP
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The new talented Italian producers Sibling and the Russian artist Heavenchord kick it off with Lonesome Landscape EP on Fauxpas Musik. An emotional piece of late-night atmosphere dub techno music full of analog warmth and heart-warming depth.
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FE 002EP
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Freedom Engine brings you Volume 2 in the Decompression Remixes Series. The haunting strings of the original wind their way through drums reminiscent of jacking '90s house before the drop of the classic "Decompression" bassline, chopped and spliced. Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove. Like surfing a spaceship through a technicolor wormhole to planet funk. Deadbeat shows his strength with a spaced-out dub version. Natalia Escobar stretches and pulls the track into an intense ambient time machine. Also features a GMT remix.
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LP
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GET 57008LP
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"Prince Far I aka the Voice Of Thunder got his start in the burgeoning Jamaican music industry as a sound system DJ (for Sir Mike The Musical Dragon), working security at Joe Gibbs' studio and in a similar roll at Coxsone Dodd's Studio One. As fate would have it, King Stitt, the regular DJ at Studio One, failed to turn up to voice a track and the up and comer convinced Coxsone to give him a try on the mic. The resulting cut launched the career of one of Reggae's most famous toasters -- though he liked to describe his style as a chanter rather than the more popular term toaster. First releasing records using the moniker King Cry Cry, the same name he'd used working Sir Mike's sound system, he soon changed his name to Prince Far I at the suggestion of producer Enos McLeod. On Voice Of Thunder, Prince Far I is supported by an extremely sparse yet heavy instrumental backing which perfectly complements his growling voice. As is often the case with Prince Far I, much of the material is essentially Bible verse, 'Ten Commandments' being a perfect example. The Voice Of Thunder full length also includes a tribute to the very recently deceased Bob Marley, and he even takes time to take UK skinheads to task for wearing polyester (forbidden to a real Rastafarian). Long out of print on vinyl, this 1981 masterpiece from Prince Far I is back in effect thanks to Get On Down."
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LP
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HGR 023LP
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Hound Gawd! Records present the release of Chico Purito!, the debut studio album by Oviedo's favorite garage punk rockers, Hey Honcho & The Aftermaths. The Spanish Illustrator Mr. Bratto enthuses, "Evil has a plan and here's the livin' example." The band formed in 2015 as Aftermaths and released their first EP titled, A Natural Fancy in 2015, followed by the seven-inch, The Way, before Von Gustopher, aka Hey Honcho, joined the band in 2017. The now called Hey Honcho & The Aftermaths feature members of Los Ass-Draggers, Amon Ra, and Electric Children. They pretty much nail the sound for which Spanish garage rock is infamous: vibrant, high energy, and dangerously catchy. Chico Purito! is for fans of DMZ, Pleasure Fuckers, The Dictators, and The Real Kids. From opener "Sally Can't Wait" to "Ejecter" the tracks are masterfully wrought punk rock tunes with heart-wrenching vocals. This paunchy debut album is packed full with 13 simple and intense "classics" including "All This And More", a tribute to the Dead Boys. At the risk of corniness in conveying the sterling truth, Chico Purito! could be considered to represent Von Gustopher on lead vocals, drummer Dani Thunder, guitarist Diego Manfredo, and Héctor Castanon on bass arriving at a "next level,", but next after what? They appear to have skipped a few. Chico Purito! was recorded live in one day at Ovni Studios in Asturias, Spain in April of 2017. Mike Mariconda produced and mixed the album at his private Sol de Sants Studios in Barcelona. Mariconda has produced countless garage rock bands, like the Devil Dogs, Cosmic Psychos, Spaceshits, and the New Bomb Turks, while leading the pack as guitarist of his own garage band The Raunch Hands. Go loco with Hey Honcho & The Aftermaths! Includes download card.
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HGR 024LP
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Hound Gawd! Records release The Ringleaders' debut album titled Bi-Coastal Blasphemy. Every few years a band will come out and grabs you by the throat as a wild bunch of coyotes. The debut album from this new superstar crew consisting of the twisted evil genius of Larry May of The Candy Snatchers on vocals, Hans Molnar of The Hellbenders on loud-raw guitar, Mark Ho the bassist for LA's most outrageous punk outfit Hollywood Hate, plus drummer Tim Bender of Death By Stereo, pounding out a noisy hell. Gavin Ross (Bloodjunkies, Scott "Deluxe" Drake) produced the first eight tracks, which include "Gold Coast Woman", a raw and wild track, that delivers a brand-new batch of bruisers -- as you can expect from Larry May. "Bed Of Lies" is controlled chaos until the volcano erupts and The Ringleaders deliver on all levels. "Own Worst Enemy" recorded by Matt Hyde (Monster Magnet, 69 Eyes) is sheer feral frenzy backed with "Run Around Clown" which will scare yer ass and shake it at the same time. Bi-Coastal Blasphemy is recommended to fans of the Zeke, Nashville Pussy, Electric Frankenstein, and The Hellacopters. Prepare to have yo' ears scorched and yo' asses whipped, cauz this lil' baby does kill!
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