WHIRLWIND HEAT - 'DO RABBITS WONDER?'

Formats

• TMR205 - LP

  858936003677

Details

RSD 14 WAREHOUSE FIND!!! 12 different vinyl colors, available randomly, download, prod. by Jack White. For Record Store Day 2014 Third Man is primed to celebrate the 11th anniversary of Do Rabbits Wonder? the debut album by Grand Rapids art punks Whirlwind Heat. Rabbits is close to our heart as it was the first non-White Stripes release to carry the Third Man logo, long before Nashville storefronts, "vinyl comeback" and all the other trappings currently attached to this fun little label we've grown. To utilize the album's colorful song titles, Third Man is pulling out all the stops and pressing the LP on 12 different colors of vinyl for Record Store Day, with the standard black-vinyl pressing coming later in the year. 12'' 33rpm LP (standard weight) comes with mp3 download code limited-edition RSD pressing on 12 different vinyl colors, available randomly Produced by: Jack White Engineer: Brendan Benson Manufactured by: United Record Pressing

Tracks

A1 Orange 2:28
A2 Black 3:07
A3 Purple 2:43
A4 Tan 3:21
A5 Green 3:12
A6 Blue 2:23
B1 Yellow 3:08
B2 Pink 2:12
B3 Red 2:29
B4 Brown 2:37
B5 Silver 2:04
B6 White 2:26
B7 Grey 2:10

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STRAIGHT ARROWS - 'PETRIFIED / INFORMATION MAN'

Formats

• IMSO014 - 7"

Details

75 - 100 copies only for sale to retail! 300 of this were made in total, 200 were for the band to sell on the road, they are in the UK / EU for their first shows at this time (see below for confirmed dates). A-side is from the recent Rising LP, and absolute fuzz classic, you can dance if you want! See video link. B-side “Information Man” is exclusive to this release – another KILLER fuzzed out tune from these Sydney bangers!… pressed as a white label, individually numbered / stamped and put in a KBD style sleeve (ref: the victims) this is the new wave of KBD style punk rock from Australia, punk rock, in attitude, sheer-glorius Australian scuzz-pop garage rock on vinyl. Will not be repressed..

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HAMISH KILGOUR - 'ALL OF IT AND NOTHING'

Formats

• BING102 - LP

  600197010211

• BING102CD - CD

  600197010228

Details

Incredibly, after all his work as a founding member of both The Clean and The Mad Scene, Hamish Kilgour has never released a proper solo album of his own, until now. Fans of his work over the years will no doubt be pleased with this debut release. All of It and Nothing is an ode to the power of jangle, highlighting Kilgour’s innate ability to both gleam the melodic cube and let the choogle of a chord progression ride itself to greatness. Written and recorded in collaboration with Gary Olson, who captured the album at his Marlborough Farms studio and accompanies Kilgour on some songs, the album carries a distinct hushed intimacy, full of soft-spoken phrases and light guitar play that belie the power of the music it provides. • First-ever solo album from founding member of The Clean, The Great Unwashed and The Mad Scene • An ode to the power of jangle sure to please fans of his other work • Recorded by Gary Olson of The Ladybug Transistor, who contributed to the songwriting

Tracks

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HARLAN T. BOBO - 'TOO MUCH LOVE'

Formats

• 19GONECD - CD

  600385249829

Details

Goner Records is proud to present a special tenth anniversary edition of the Too Much Love CD from Memphis artist and musician Harlan T. Bobo (Viva L’American Death Ray Music). Featuring backing musicians from members of The Reigning Sound, Fuck, and Viva L’American Death Ray Music, Too Much Love was recorded at Easley McCain Studio. Upon its release, the album was hailed as the best Memphis record of the last five years by the city’s Memphis Flyer. Find out for your own self.

Tracks

1. Only Love
2. Left Your Door Unlocked
3. Stop
4. Too Much Love
5. Zippers and Jeans
6. Mr. Last Week
7. When You Comin? Home
8. After This Night?
9. Bottle and Hotel
10. Last Year (bonus track)

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MARBLE SKY - 'S/T'

Formats

• SOD108 - 2xLPs

  600197510810

Details

Marble Sky was the moniker under which chameleonic nomad Jeff Witscher, best known for his work as Rene Hell, recorded his most intimate and contemplative music. The material that comprises this eponymous 2xLP was originally released in the late aughts as short-run cassettes—highly coveted and personal releases that imparted mystery and a strange sense of hermetic romanticism. Although Witscher’s musical sensibilities are remarkably diverse, what remains consistent in all his projects is an idiosyncratic knack for composition and a boundless capacity for ingenuity. Indeed, his work has inspired as many imitators as it has ardent completists. “Pulling up Grass Under a Blanket” opens the set and is a prime example of Marble Sky’s brand of profoundly affecting outsider ambient. Fragile, bucolic tones hover like dust motes in the morning sun, subtended by tape hiss that threatens, but never quite manages, to consume them. “Lea; Crossed Eyes” gazes similarly skyward, slowly building to an awe-inspiring, monolithic drone. Viewed from the present, these recordings can be seen as the distillation of an important and uniquely tender movement in American experimental music, documented largely by West Coast tape labels such as Ekhein, Monorail Trespassing, and Witscher’s own now-defunct Callow God. Remastered by James Plotkin and presented for the first time on vinyl, this is the definitive collection of work by one of Jeff Witscher’s most justifiably beloved guises. This deluxe 2xLP edition features photography by Helen Scarsdale and gatefold tip-on jackets.

Tracks

1. Pulling Up Grass Under a Blanket
2. Dull Hue
3. What You Might Forget
4. A Shining Juniper
5. Sunset on Low
6. Lea; Crossed Eyes

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RIVAL CONSOLES - 'SONNE'

Formats

• ERATP059LP - 12"

  4050486109625

Details

Ryan Lee West aka Rival Consoles reinforces his unique style of minimal electronic arrangements with a new 6-track EP Continuing on from his Odyssey EP released in 2013, Ryan Lee West aka Rival Consoles creates atmosphere and space whilst exploring waves of sound and rhythm, and the power of colour. With Sonne Ryan creates music to structure itself around a pulse, rather than the pulse being the defining point. The title track begins with “a very subtle set of melodies that repeat almost without confidence, and then gradually give way to a huge collage of colour and power”, as Ryan describes it. Not relying on a conventional beat, it’s a prime example of how an analogue synthesiser can create the power and momentum of a rhythm section. From the distorted waves in 3 Chords, growing and shrinking, to the rhythmic waves of constant speeding up and then slowing down in Recovery, it’s the Moog Voyager, Prophet and tape delay that make up the core sound of the EP. Whilst tracks like Helios, Haunt and Think Tank see West play live drums and acoustic guitar. “I’m often looking at art in exhibitions and I always think to myself ‘why the hell don’t I have this much colour in my work?’ The answer in part I think is down to synthesis. It is very difficult to create colour without it sounding plastic. Colour in music is both the note combinations and the actual timbre of the sounds. There are lots of instances of very colourful ambient sounds, which I took great care to create for each song, using various methods – from passing analogue synths through chains of effects to chopping up random sequences of recordings and forming tiny collages." – Ryan Lee West Resembling the colour and vibrancy in his music, the cover art was created by South London artist Supermundane, who was also responsible for the artwork of the Odyssey EP. After supporting Luke Abbott on his recent UK tour and I Break Horses on their North American tour in spring, Ryan will debut his new live set with a special release show in London, followed by a string of West Coast U.S. dates culminating in Decibel Festival. ABOUT THE ARTIST: Some might be surprised that London based electronic producer Ryan Lee West, the man behind Rival Consoles, shares a home with contemporary classical composers such as Nils Frahm, Ólafur Arnalds and Peter Broderick. And yet they have a lot more in common than expected. Fascinated by sound from an early age, Ryan chose to dedicate his time to studying, experimenting with and producing sound graduating from De Montfort University in Leicester. One consistent element in his musical journey has been his desire to create a more organic, humanised sound. Ryan often drafts early ideas on piano, violin and guitar, although the end result is much more electronic-laden. As an accomplished sound designer he has repeatedly performed at the Tate, and recently created a bespoke audio-visual performance for Boiler Room at the V&A. Ryan is currently composing music for a BBC production.

Tracks

A1. Sonne
A2. 3 Chords
A3. Helios
B1. Haunt
B2. Think Tank
B3. Recovery

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VARIOUS - 'BLACK DIAMONDS: SINGLES FROM THE FESTIVAL VAULTS 2'

Formats

• BRC002 - 10 x 7"

Details

Carbonado, commonly known as the "Black Diamond", is the toughest form of natural industrial diamond. Much like it's mineral counterpart, the black diamond 45 is the toughest form of 7" vinyl. Tough in acquiring, tough in sound, tough on your bank balance. So what to do? ....Repro revive 45's! The quarter of a century in-house Festival Records mastering supremo and custodian of the tape archive during his tenure at Festival records has been responsible for all the tape transfers and mastering on the 45's in this box set. All from the original analogue master tapes in glorious mono! The very same tapes that were responsible for pressing the original 45's in the 1960's have been sourced to press the 45's in this box set. We've even reproduced the original labels in all their letterpress glory to give you the original sound, original look and the original price of admission (inflation considered) to the world of amazing mid to late 1960's 7" Australian 45 rpm sounds. This first volume travels four golden years start to finish. Begins in 1965 with the frantic harmonica laced femme sounds of Toni McCann's My Baby, travels through to the 1966 punk of Derek's Accent, Ain't Go No Feeling, The Lost Souls teen angst anthem that is This Life Of Mine, snarling finery that is The Black Diamonds, double sided top shelf freakbeat of The Playboy and ends in the hard edged psych of Inside Looking Out in 1969…and that's just over half the stops! Some sides in this box have been compiled previously, legally and illegally on various artists long players & CD’s, but many of the sides are seeing their first issue in any format since their original release. This is the first time all twenty tunes have reissued in their original intended format. Black vinyl 45rpm sides! You could not buy a mint original of any of 45's in this box set for what you can swing this whole box set for. Fact. If you wanted all the original singles your bank manager is the next port of call. The ten 45rpm sevens are housed in a full colour, sturdy clam shell type box. This swank set is rounded out by booklet featuring extensive liner notes by Grammy nominated writer and veteran of many swell sets of the Ace & Rhino labels, Alec Palao. If these sounds float your boat, this is the definitive article! Made in a strictly one time pressing of 500 individually #ed copies. None of the singles in the box set will be made available individually. No repress, no bs! Black Diamonds. Your portal to as close to a time machine back to the world of primo mid 60's Australian sounds as possible. Accept no substitute!

Tracks

01. TONI McCANN WITH THE BLUE JAYS - My Baby / No (Sunshine QK-999) (1965)
02. THE 4 STRANGERS - You'll Be Mine / Sad & Lonely (Festival FK-1022) (1965)
03. THE BLUE BEATS - Let It Be / She's Comin' Home (Festival FK-1047) (1965)
04. DEREK'S ACCENT - Ain't Got No Feelin' / That Is Life Today (Down Under UK-1399) (1966)
05. THE ATLANTICS - It's A Hard Life / Why Do You Treat Me Like You Do (Sunshine QK-1433) (1966)
06. THE LOST SOULS - This Life Of Mine / Peace Of Mind (Sunshine QK-1469) (1966)
07. THE BLACK DIAMONDS - See The Way / I Want, Need, Love You (Festival FK-1549) (1966)
08. THE SUNSETS - Love's Face / I Want Love (Festival FK-1797) (1967)
09. THE PLAYBOYS - Black Sheep R.I.P / Sad (Sunshine QIK-1872) (1967)
10. INSIDE LOOKING OUT - Long Live Sivananda / On Whom Her Favour Falls (Sunshine QK-3115) (1969)

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CARRL & JANIE MYRIAD - 'OF ALL THE WOUNDED PEOPLE'

Formats

• BRC004 - LP

Details

Melbourne folk duo Carrl & Janie Myriad. If the likes of Fairport Convention, Trees, Mellow Candle, Shirley Collins, Sandy Denny (to name a few) mean anything to you, check this! Originally released in 1972, original pressings are now highly sought after and extremely rare. This reissue will be out September, made in an edition of only 500 copies and direct from the original mastertapes. Complete with original artwork and insert featuring liner notes from Janie Myriad.

Tracks

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THE TERMINALS - 'SINGLES AND SUNDRIES'

Formats

• BING104 - LP

  600197010419

Details

The Terminals are smack in the center of all that is great about New Zealand music. Members of the group have connections to The Renderers, Scorched Earth Policy, The Axemen, The Pin Group and Dadamah, and the list goes on from there. They bridge the gap between the free-form sprawl of their improvising peers and the melodic beauty of Flying Nun’s poppiest groups. The result is a ripcord of rock which sounds vital, intense and fomenting with menace. Collected here for the first time are the singles. Released throughout the 1990s, these songs are the band’s finest moments. “Deadly Tango” blares at a syncopated pace, while “Witchdoctors” seems to crawl out fully formed from a miasma of feedback, with Stephen Cogle’s vocals sounding like incantations. The greatness of The Terminals comes from their mastery and their ability to achieve such a powerful effect with the music they’ve created. Their music throws an intelligence into the dark and structure onto the dangerous. For anybody looking at a roadmap to New Zealand music, the songs on Singles & Sundries are essential vantage points.

Tracks

1. The Deadly Tango
2. Do the Void
3. Psycho Lives
4. Witchdoctors
5. Black Creek
6. Raining in My House
7. Both Ends Burning
8. In and Out of My Mind
9. Medusa

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MUSK - 'S/T'

Formats

• HOLY1996 - LP

  655035699615

Details

MUSK is the new flesh, or at least what’s secreted from the glands located under the skin. Frontman Rob Fletcher is the last guy in the world you’d think had pheromones; they might work on him, but his voice is definitely in the “let’s get the fuck away from this guy” category, with his undeniable ability to growl, spit, shriek and wretch while the band attacks. Drummer Brendan Leonard is a total canbasher, and bass-player John Laux is sublime. He’s not even there at times, but he is, like the whispers of forced air you heard when you were listening to Tical on wet that one time. Like, is that really there? It feels like it’s been there forever. The weird thing about MUSK is that on top of all this malign beauty—what sounds like the six movies John Saxon made in Italy that nobody except the biggest creeps in the world know about, or Beefheartian blues lurch juxtaposed against that lost ’80s pigfuck clangor—guitarist Chris Owen bleeds reverb everywhere, as if his amp had a heart to be stabbed, but it’s just a cone about to rupture. His leads give off a sick, dusty twang, pained as if in their death throes (which is saying something, because the guy looks like the dad from The Family Circus). Each dying twitch and every belligerent throb was captured by engineer Chris Woodhouse (Oh Sees, Fuzz, Ty Segall, Intelligence). Whether working the muggy Southern Gothic angle or treading knee-deep in NYC’s pungent sewers, all routes on Musk lead to a cold, shuddering finality. Long live the new flesh! “… a Scientists-infused dip into the swamp… the only band even close to the scree they unleash is Sicko Inside Me-era Necessary Evils mixed with a bit of the first Horrors LP and dare I even say some of the nastier Hunches efforts. Absolutely ferocious guitar sound that’s going to have some people jealous. With Woodhouse on the deck, it’s of course a real stunner… giving ’em the perfect ratio of reverb-to-spit, trash-canning the drums perfectly and a bass tough enough to stand up to the nastiest guitar sound since… shit, I dunno. It’s pretty bad ass. Watch out for these maniacs.” — Rich Kroneiss, Terminal Boredom “Primitive sludge with an ample amount of weirdness, MUSK’s music is deft combination of Flipper, later Scientists, various AmRep swamp dwellers and DEVO if the Akronites were forced to play in a tar pit.” —Scott Soriano, S-S Records

Tracks

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ORA ISO - 'BATHCAT'

Formats

• BING101 - LP

  600197010112

Details

Ora Iso’s pieces begin in abstraction, encounter semblances of melody, then disintegrate into fragments. It all comes together as a glorious noise, and Bathcat, the duo’s first album, captures the essence of their nature. The group formed with a shared affinity for challenging pieces. Kathleen Malay, born in Indonesia and a recent transplant to New York via Australia, is a classically trained pianist who found her calling once she met Jason Kudo, a guitarist best known for his work in Modra. Bathcat was recorded with the deft influence of Lary Seven, a fixture on the New York experimental scene since 1970, who has worked with Tony Conrad, Foetus and Jarboe.

Tracks

1. Florida
2. Ora Iso
3. Disassociation Blues
4. Daria
5. Meat Grinder
6. Dropped
7. Confession Gives
8. Lower
9. Crypto Squalor

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SO COW - 'THE LONG CON'

Formats

• 104GONE - LP

  600385249911

• 104GONECD - CD

  600385249928

Details

After years of recording as one man in several sheds, The Long Con is the first full-on, full-band recording from Ireland’s So Cow. Brian Kelly is this time joined by long-time foil Jonny White on bass and the pride of Dublin, Peter O’Shea, on drums. It’s also their first album to be recorded in a studio and, if that isn’t enough, has an honest-to-goodness producer involved, namely Deerhoof’s Greg Saunier. Recorded live over the course of four or so days, the album is an attempt to capture So Cow’s live sound, as opposed to the overdub-happy chaos that marked the debut LP, 2009’s best-of-up-to-then compilation So Cow, and 2010’s Meaningless Friendly. The album was recorded in Ballyheigue in County Kerry, hitherto and probably-now-still most famous as the birthplace of the guy who coined the term “entrepreneur.” Saunier and the band ran through the process at a fairly spectacular pace, most likely inspired by the wi-fi being out of order. The Deerhoof man himself makes an appearance on “Say Hello,” a pretty-muchimprovised final day runabout. The Long Con follows on from the sufficiently varied Meaningless Friendly and their half of Out of Season, a split LP with Dublin’s Squarehead, in that it zips around styles in a way that, to this day, makes their friends find them “hard to describe.” The band themselves are of the mind that they sound like The Chills or McLusky, but they’ve lost all perspective at this stage so don’t go taking their word for it. Similarly, lyrics telling of joyriding local politicians, John Deacon’s post-Queen level of contentment, and the terror of turning 30 can probably now be interpreted any number of ways. 

Tracks

1. Get Up Off That Thing
2. Science Fiction
3. Sugar Factory
4. Operating at a Loss
5. I Want Out
6. Vigilanti Cura
7. Say Hello
8. Turning Into You
9. To Be Confirmed
10. Guess Who?s Dead
11. The Other One
12. Second Last Line of
the National Anthem
13. Barry Richardson

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PEOPLE SKILLS - 'TRICEPHALIC HEAD'

Formats

• SB171 - LP

  655030117114

Details

Following a self-titled cassette (Psychic Mule, 2013), People Skills serve up a first LP of deceptively relaxed songs. As per usual, deductions are to be made on the consciousness of the character; the important thing is that in the ensuing spatial vagueness, Jesse De really comes into his own. The influence of Graham Lambkin has become so staggeringly panoramic over the past decade it seems to demand participation and here it is, inscribed by the chance blurts of Die Spielverderber and the slow attitude of The University Punx, and played from the loner-folk-side-in—that is, for feeling felt. And the laziness is projective; always managing to sound looser and more vivid than it seemed a couple of seconds before, shifting from lyrical to terse by way of The Rebel. And if that doesn’t get you, consider the mortal words of John Berryman: “Well hell / I’m not writing an autobiography-in-verse.” As a first-person hallucination recorded memory, this plays somewhere between full-blown De narrative and snapshot. Regardless, we’re blazing into a new era and this one will go perfect in one of those new rabbit-computer cafés.

Tracks

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