BLACK RAT SPEEDWAY MACHINE - 'NO GEARS, NO BRAKES, NO BRAINS EP'

Formats

• RWR8 - 7"

Details

Part kamikaze, hell on Earth. Part Death Race 1950. Black Rat Speedway Machine smash down all the safety barriers and ram the pure speedway adrenalin rush right up your exhaust pipe. The music created by BRSM is like a battered tin can kicked around a concrete car park by a gang of steel toe-capped navies tanked up on cheap gin. Dismantled punk riffs sit astride brutish beats while the howling guitars wrestle with the demented voice. Another ceremonial disemboweling of tradition where Style and Substance get a right good kick in the pants before being trampled underfoot. The neat neat neat rocket fuel created by this wretched bastard offspring of The London Dirthole Company, Atomic Suplex and The Lot Lizards, (whilst sounding nothing like any of them), master the pure shitty No-Fi punk noise assault ethic to toxic effect. Leaving behind 8 songs of blistering meltdown in little over 12 minutes in this rat infested vinyl skidmark. And finally, the band wished me to notify anyone that could be bothered to listen that they invite everyone to enjoy their joyfully raucous melee and to inform you that if you are in anyway squeamish or sensitive about musicianship, hi-fidelity recordings or any other of the mundane conventional trappings of the modern musical listening experience, then perhaps this isn’t the thing for you. 

Tracks

Press

Audio & Video

THE SHINS - 'LIVE AT THIRD MAN RECORDS'

Formats

• TMR184 - LP

Details

What can we say about The Shins that hasn't already been said in miles of press? They're one of the best bands out there today and we are still honored thinking back to the night James Mercer and his band here to play live and record a live LP for us. This show holds a particularly special place in our hearts, as it was the inaugural groove-carving voyage of our 1953 Scully Lathe that previously churned out masters for Cincinnati’s legendary King Records. The 8 tracks on this live recording mark our first ever cut live direct-to-acetate, and we couldn't be more pleased with the way they turned out. Third Man are so pleased that the day has come that they can announce the release of these very special live records — The Shins, and The Kills — all recorded in the Third Man Blue Room last October, and our first releases recorded live using our one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati’s legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...) Third Man's BLUE ROOM is the ONLY LIVE VENUE IN THE WORLD where artists can record their performance direct-to-acetate, and after these first releases, there will be many more of their kind coming down the pipeline.

Tracks

Press

Audio & Video

THE KILLS - 'LIVE AT THIRD MAN RECORDS'

Formats

• TMR188 - LP

Details

This record captures a show we had been wanting to see at Third Man since day Numero Uno. Jamie Hince and Alison Mosshart are two of the most talented and creative people we know and we couldn't be more pleased that they rocked our stage and committed it to wax so we can finally have a release on the label by the one and only KILLS. These 8 songs were recorded direct-to-acetate on October 10, 2012. Third Man are so pleased that the day has come that they can announce the release of these very special live records — The Shins, and The Kills — all recorded in the Third Man Blue Room last October, and our first releases recorded live using our one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati’s legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...) Third Man's BLUE ROOM is the ONLY LIVE VENUE IN THE WORLD where artists can record their performance direct-to-acetate, and after these first releases, there will be many more of their kind coming down the pipeline.

Tracks

1. Heart is a Beating Drum
2. Future Starts Slow
3. Kissy Kissy
4. DNA
5. Baby Says
6. Tape Song
7. Pots and Pans
8. Last Goodbye

Press

Audio & Video

BITS OF SHIT - 'CUT SLEEVES'

Formats

• HOMELESS1 - LP

Details

We’re pretty excited and pleased-as-punch to announce that the first and second pressing is entirely sold out,a third pressing is finally now available for European customers via Forte distribution. And thus, the band is Bits of Shit. These charmers have been around for about 3 and a half years, having morphed from another previous outfit, The Southernhay Orphans. The band consists of Danny on vocals, Andy on guitar, Elias on bass and Pete on drums. They've played over 50 shows in their lifespan, released a 7" on Melbourne's Lexicon Devil label (now sold out), played at Melbourne's annual Maggotfest and last September they tore it up at Memphis' Holy Grail of rock & roll festivals, Gonerfest. Many regarded it as the highlight of Gonerfest 9 and still rave about it. Their ages range from the early 20s to the early 40s. In real life, they are responsible citizens, two of them educators of young children; on stage, they are Bits of Shit. Cut Sleeves is the debut full-lengther from the band, and the debut release for Richie Ramone's Homeless imprint. The album is available only on the 12" long-player format , featuring a download card, lyric sheet and the stunning cover art of local artist, Rona Green. All 13 tracks were recorded by the band and mixed and mastered by man-about-town, Mikey Young. The sound of Bits of Shit is caught within the netherworld of tough-arsed Aussie punk/pub rock a la Powder Monkeys/X/Rose Tattoo, the fuzzed minimalism of Wire and The Wipers and the art brut of Black Flag and their minions. Danny's nasally howl is part John Lydon and part Bon Scott, Andy’s guitar hysterics stem squarely from the Ginn-damaged school of six-string dementia, and that rhythm section... those kids are sphincter-tight. In short: THIS IS THE REAL DEAL. In a live setting, Bits of Shit have knocked socks off and frightened unsuspecting squares from the premises on frequent occasions. The pure ENERGY of the band is captivating. Cut Sleeves captures that energy for all to hear, even in the comfort of your very own living room. When you have THE SONGS and THE ENERGY together, THAT is the reason why Cut Sleeves must be purchased and heard, capice? Ergo sum whatever-the-fuck. Good night. “…this debut LP is a future classic of hairy-necked überpunk.” (thequietus.com) “All the songs are stellar… Again, I reckon, that qualifies this black circle as an outstanding record overall… Did the terrible album art lower my expectations so much that I found this to be one of the best records of 2012? Or is Cut Sleeves just simply that good? Decide for yourself, I’m just here to tell ya it’s worth your consideration.” (yourfleshmag.com) “This debut album does a great job of capturing their dizzying propulsive energy.” (messandnoise.com) “Raw garage punk with brash Australian vocals. Imagine a post-Eddy Current take on muscular Melbourne rock like Coloured Balls mixed with X. Well-stocked with riffs  and swagger. Apparently this bunch of sharps recently played down the street from my house, but since I never go out I missed them.My loss.” (Max rnr)

Tracks

Press

Audio & Video

POWDER MONKEYS - 'SMASHED ON A KNEE'

Formats

• FREE108CD - CD

  9326425808221

Details

Australian label Freeform Patterns / via Forte Distribution is proud to announce the first in its Powder Monkeys reissue series. The Powder Monkeys were one of the shining lights of Australian rock & roll in the 1990S, and for a brief moment were tipped to break it big in the US when they signed to Rick Rubin’s Onion label, but unfortunately nothing concrete came of that deal. They released two albums on the renowned Melbourne-based Dog Meat in the ‘90s, then one on the Swedish House Of Kicks label later that decade (they toured Europe with The Hellacopters and the MC5’s Wayne Kramer), as well as a couple of EPs and live discs on various labels. Their recording history starts with 1993’s Smashed On A Knee. The Powder Monkeys were formed in 1991, originally as a 5-piece, and featured members John Nolan (ex-Bored!) and Tim Hemensley (ex-GOD, Bored!) throughout their whole lifespan (’91-2003). Their sound was a dynamic combination of Detroit rock & roll (Stooges/MC5), ‘70s Aussie hard rock (Coloured Balls/Aztecs/Rose Tattoo), American punk (Dictators/Black Flag) and the bass-heavy roar of prime Motorhead. As an organic musical unit, they were a force of nature. Out of print for 15 years, our special edition of their debut album has been newly remastered by Mikey Young (Eddy Current/Total Control), giving it the definition and punch the original unfortunately lacked, as well as three fantastic bonus cuts: a rare version of Isaac Hayes’ “I Thank You” (played ZZ Top/Motorhead-style), as well as markedly different versions of album tracks, “Another Nite In Hell” and “Atomic Resolution” (great versions, too!). The digipak booklet also features 20 pages of rare/unseen photos, flyers and essays from Mike Mariconda, David Laing (of Dog 

Tracks

01. Another Nite In Hell
02. I Stand Bare
03. Persecution Blues
04. Yin Yang
05. Bruised Battered And Bloodshot
06. Atomic Resolution
07. Crank Me Up
08. Ugly
09. Valediction
10. I Thank You (bonus track)
11. Another Nite In Hell (alternate version)
12. Atomic Resolution (alternate version)

Press

Audio & Video

GRASS WIDOW - 'PAST TIME'

Formats

• HLR004 - LP

Details

The latest reissue on the band’s own HLR imprint, Past Time is Grass Widow’s second album and was originally released in 2010 on Kill Rock Stars. “... Grass Widow joins a slew of recent DIY post-punk revivalist groups—Vivian Girls, the Bitters, Crocodiles—but the band’s loose, meandering guitars and colorful vocals bring something new to the scene. Formed in 2007 from the remnants of the band Shitshorm after drummer Frankie Rose moved on to Vivian Girls, Grass Widow’s three members share vocal duties, and the voices range from child-like to choir-ready, making for a delivery that can be harmonious when it needs to be, but is just as interesting when it isn’t. “Hannah Lew (bass), Raven Mahon (guitar), and Lillian Maring (drums) each seem to represent a different set of emotions with their voices—say, timid and shy, sad and mournful, and strong and bitter—as if they’re performing three different dramatic parts. This probably isn’t their intention, but the mix of tones is nonetheless a powerful complement to the textures played out on their three instruments, and the vocals add a distinctive pop element to the post-punk roots of the music. It’s a sound in keeping with Grass Widow’s self-titled debut, released last year on the small label Make a Mess (and followed by an EP on Captured Tracks last August). Those songs, few of which clocked in over three minutes, feature the same raw, disjointed guitar patterns, call-and-response vocals, sashaying, tambourine- driven rhythms, and delightful, quick-shifting harmonies that sometimes sound centuries-old. The band gets an improved production quality on Past Time, but it’s still bare-bones, with no dramatic effects added in the studio.” —Pitchfork

Tracks

Press

Audio & Video

HENRY PLOTNICK - 'FIELDS'

Formats

• HOLY1993 - 2xLPs

  655035699318

• HOLY1993CD - CD

  655035699325

Details

Initial contact with Fields may lead one to believe it’s the work of an A+ grad student at one of America’s finest music colleges. On discovering the album’s creator won’t be able to legally drink for another decade, one might wince at the thought of one’s own paltry 11-year-old feats—even if those armpit farts were pretty inspired. Meanwhile, Henry Plotnick sounds like he’s ready for the concert hall. The structural and dynamic sophistication at play in Fields—the way melodic beauty gyres within rigorous academic / minimalist strictures, the manner in which perilous, mordant atmospheres are conjured—are astounding for any musician, age be damned. Seemingly under the spell of Terry Riley’s mesmerizing classic In C, Plotnick engineers ingenious strategies for mental liftoff. It’s as if he’s absorbed the principles and techniques of the 20th-century American minimalist-composer pantheon and injected them with a zeal for greater instrumental complexity and melodic flamboyancy. The two longest tracks on Fields take the listener highest, suggesting that Plotnick is more of a marathon-runner than a sprinter. Just as those who observed LeBron James on the court as a high-school sophomore could predict his NBA superstardom, anyone who hears Fields will be stirred to imagine future concert-goers rendered agog by Plotnick’s phenomenal prowess. Get in on the ground floor of what promises to be a skyscraper of rarefied sonic inventiveness.

Tracks

Press

Audio & Video