TEENAGE GUITAR - 'MORE LIES FROM THE GOOSEBURY BUSH'

Formats

• GBVI51 - LP

Details

Robert Pollard, head lunatic of the Guided By Voices’ asylum, has a surfeit of original thoughts. (Most people are lucky to have even one, ever.) That this even needs to be expressed is evidence enough for its “truth,” as only obvious or obviously untrue things can ever hope to be true. Or to approach the truth. Something Pollard does with uncanny regularity, and which is further on display on every track on the gloriously unkempt, roiling-with-ideas More Lies from the Gooseberry Bush, the second record Pollard has released under the nom-de-rock Teenage Guitar. Here’s a song title: “Matthew’s Ticker and Shaft a. Come to Breakfast b. The Girls Arrive c. Division of Swans d. When Death Has a Nice Ring.” It starts with distorted guitar over a primitive snare-and-bass-drum beat (all instruments on all songs played by Pollard), shifts into an out-of-tune piano clumping along a simple seven-chord progression, lurches into a wall of distorted guitar as two tracks of Pollard wail, wide-panned in each speaker, before finally resolving in a pretty harpsichord figure (or some synthesized version thereof) inelegantly tripping over itself before trailing off into the next track: “The Instant American,” which presents multi-tracked Pollard vocals chanting over a background of what sounds like a bunch of people at a party drinking. These are not the two strangest tracks on the fourteen-song album, which clocks in at just over thirty minutes. If there are times when Pollard’s musical ambition seems to overwhelm his ability to present his ideas coherently, that’s a feature, not a bug. The spastic, machine-generated beat of “A Guaranteed Ratio,” the ham-handed church organ of “Good Mary’s House,” the off-key crooning, the awkwardly plucked possible-banjo on “All You Fought For,” the general (but not always) sloppiness, the rumbling toms and slashing power chording of “New Light”: it all adds up to a sense of urgency and an awful lot of unconstrained joy suffusing every single track on More Lies From The Gooseberry Bush. For those who like their Pollard stately, tuneful and elegiac—sure, he can do that without effort, but that’s not what Teenage Guitar is about. Teenage Guitar is about trying hard without seeming to try hard. The result is that rare thing: a completely original album. Which is also a true delight, a sky-blue gem, a timeless and untimely cabinet of wonder. And by some few miles the greatest musical artifact your ears will have the pleasure of encountering this year.

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MEATBODIES - 'S/T'

Formats

• ITR268 - LP

  759718526813

• ITR268CD - CD

  759718526820

Details

Loud, fast, wild—you’ve heard this all before but you haven’t because the Meatbodies are brand new and they’re going to dominate your eyes and ears and give you a bangover like you’ve never had before. Meatbodies initially came about as a solo project for Chad Ubovich after spending the last several years touring in other groups: In 2011, he was recruited by his friend Mikal Cronin to play bass, and eventually guitar, in Cronin’s band’s first ever tour. While Cronin strummed his twelve-string to his future classic pop songs, Ubovich howled alongside, adding his own brand of wolf-man style to Cronin’s live show. Heavy super-group Fuzz took notice of his on-stage prowess and recruited him to deliver Geezer Butler-style bass riffs that could propel Charles Moothart and Ty Segall’s songs through the stratosphere. While both of these bands have kept him busy over the past few years, his mind was always on his own songs. He would come home and secretly work on his own material—explosive, crunching, grinding songs with soaring melodies and gentle bridges cascading into torrents of riffs. Eventually he shared his work and allowed Segall to put out a tape of his bedroom recordings on his label God? Records. The tape was well received, so Ubovich recruited several friends with whom he could play around Los Angeles and San Francisco, and people began to see that he was more than just a sideman to his heavy-hitting comrades. Eventually, In the Red took notice and the Meatbodies were added to their roster. Sequestering himself in master studio magician Eric “King Riff” Bauer’s San Francisco studio / psychedelic sanctuary, Ubovich busted out an album’s worth of songs, barely leaving the small Technicolor underground quarters. Once the tracks were done, he sent them up to Chris Woodhouse to give them just the right final touches of perfectly controlled chaos. And perfectly controlled chaos is what this trifecta delivered. The self-titled record is a sonic experience truly evocative of its creator: Unabashed, unrestrained, beautiful and strange. Riffs for days. It’s everything we’ve come to expect from Chad Ubovich.

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DEAF WISH - 'S/T'

Formats

• HOMELESS21 - LP

  9342478005516

Details

Vinyl only release, includes download code  Limited edition of 500 green vinyl  10 track debut album, previously CD-R and 2011 vinyl issue - sold out  Sub Pop releasing 7”EP October 7th (USA), October 6th (Europe)  Touring USA Sept/Oct, incl. Gonerfest 11 (also played Gonerfest 8) “There would be no cause to put up with this nonsense if Deaf Wish weren’t a band of such rare awesomeness — and if Deaf Wish sightings in a live setting weren’t such notoriously memorable chaos. You see, they are the finest blast of well-structured noise to emerge from Australia since Eddy Current Suppression Ring. Deaf Wish’s trajectory is as unpredictable as their music. They exist outside of time and space, but also some of them are in Melbourne. Don’t worry about it too much. Just tune into their magnificently decaying frequency and hope it’s not the last that you hear of them.” – Beverly Brian (MTV) Deaf Wish began in a soggy West Melbourne rehearsal room in May 2007, standing around screaming and bashing through songs with one solid philosophy: 'go to feedback' when things fall apart. After a handful of rehearsals, they recorded 10 songs, released these on CD-R three days later and played two shows. Guitarist Sarah Hardiman then left for the UK and it looked like Deaf Wish would be one of those short-lived bands, playing a couple of legendary shows and disappearing. Thankfully for us, that wasn't the case. Homeless was at those shows and VERY impressed, picking up a copy of the CD-R - unfortunately missing out on the Vomit Bag edition. A few years down the track, we expressed interest in issuing this self-titled album, even before Homeless existed as a label. Three years later and to coincide with Deaf Wish returning to the USA and the release of a brand new Sub Pop 7"EP (available Oct.7th), Homeless has crapped themselves in anticipation of reissuing that 10 track debut LP. The 22-date tour of the US throughout September/October sees Deaf Wish return for another appearance at Gonerfest 8 (2011), their previous onslaught regarded by many as a true highlight of the festival. “Being in the same room as this band, live or on record, means being at the receiving end of all the convoluted rage, frustrations and insecurities they spew forth. Like any good punk band, there's no restraint in the savagery.” - Lee Parker (The Thousands) Deaf Wish are Sarah Hardiman (guitar, vocals), Nick Pratt (bass, vocals), Jensen Tjhung (guitar, vocals) and Daniel Twomey (drums).

Tracks

A1. Green Flame (2:10)
A2. Take What You Want (1:32)
A3. Mum Gets Punched In The Face (1:53)
A4. Zen Arch-Ade (1:16)
A5. Make It Hurt (1:49)
A6. I Traded You (3:35)
B1. Mai Tai (1:30)
B2. Nerve Damage (2:38)
B3. Freeze The Sound (4:37)
B4. White Heat / Bikini (2:19)

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THE INTELLIGENCE - 'BOREDOM AND TERROR / LETS TOIL'

Formats

• ITR263 - 2xLPs

  759718526219

Details

In The Red is proud to announce the new double-vinyl reissue of The Intelligence’s debut album, Boredom and Terror. Originally released on Narnack / Omnibus Records in 2004, Boredom and Terror is the first time Lars Finberg stepped out from behind The A-Frames’ drum kit to showcase his own music. Later releases by The Intelligence were fleshed out with additional musicians, but on this debut album Lars was an army of one toting an eight-track recorder and a notebook full of songs. The results are as original as they are incredible. This is lo-fi post-punk electro garage-core, equal parts Devo, The Fall and something altogether its own. This new edition of Boredom and Terror has been newly remastered. The original vinyl release contained an eleven-track bonus CD which is included here as a second LP. Both are housed in a beautiful gatefold sleeve. “Lars Finberg, the lo-fi dandy of West Seattle, locked his front door and pressed the record button on his favorite eight-track machine and made songs that could be either ecclesiastic alien probes, Hank Williams going electro-slash, or John Lennon making friends with a video game.” —Insound

Tracks

1. The World Is a Drag
2. The New Kings and Queens
of Musical History
3. Spellers and Counters
4. Telephone Wires
5. The Universe
6. Guys
7. Singing Contest
8. The Night Belongs to Microphones
9. Boredom and Terror
10. Staff Infection
11. Virgos
12. Books
13. Weekends in Jail
14. Faint Joy
15. Matches vs. Lighters
16. Darling That Was a Lie
17. I Don?t Want To
18. Let?s Toil
19. The Edge That Cut Itself
20. Bee Hive
21. Practicing Medicine
22. Ten to Twenty
23. T.M.W.T.R.O.

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OLIVIA JEAN - 'BATHTUB LOVE KILLINGS'

Formats

• TMR281 - LP

  858936003868

• TMR281CD - CD

  858936003875

Details

Bathtub Love Killings is the debut solo LP from Olivia Jean, the multi-instrumentalist who cut her teeth in the Third Man stable backing folks as varied as Karen Elson, Wanda Jackson and Jack White in addition to fronting the much-loved Black Belles. Jean has accrued a lifetime of experience in a few short years, from highlight performances on The Colbert Report, Conan, Late Show With David Letterman and the Grand Old Opry stage to having one of her songs used as the theme for the television series Elvira’s Movie Macabre. Produced by Jack White, Bathtub Love Killings showcases Jean as a songwriting force to be reckoned with. Playing damn-near every instrument she could get her hands on, the result is a well-rounded, catchy record that’s chockfull of ear worm moments. • Olivia Jean was lead singer, guitarist, main songwriter of the Black Belles (also released by Third Man Records) • produced by Jack White, who also plays guitar on “Cat Fight” • drums on “Deadly Hex” and “Cat Fight” by Patrick Keeler (the Raconteurs, the Greenhornes) • “Green Honeycreeper” features songwriting contribution by Coco Hames (The Ettes, The Parting Gifts)

Tracks

1. MISTAKES
2. MERRY WIDOW
3. REMINISCE
4. GREEN HONEYCREEPER
5. HAUNT ME
6. AFTER THE STORM
7. DECEMBER
8. EXCUSES
9. PROOF
10. DEADLY HEX
11. CAT FIGHT

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PITCHFORK REVIEW - 'ISSUE #3'

Formats

• p4kreview03bk - BOOK W/7"

Details

INSTOCK NOW. Includes KING TUFF/THE LENTILS SPLIT 7" The 3rd edition of the perfect-bound quarterly music publication featuring contributions from the PITCHFORK staff & edited by JC GABEL of STOP SMILING. Combining new long-form feature stories, photography, illustrations, & other ephemera w/selected recent pieces from P4K, issue 3 features new writing from IAN COHEN & AMANDA PETRUSICH, a history of JOE TEX, why rural rap station 102 JAMZ is the best radio station in the country, a photo spread curated by CHRISTIAN STORM, comics & illustrations galore, & a collectable, limited 7"

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PEOPLE'S TEMPLE - 'WEEKENDS TIME'

Formats

• SCAP012 - LP

Details

The Peoples Temple, who debuted in 2011 with the acclaimed “Sons of Stone” LP on HoZac Records, releases its fourth full-length LP “Weekends Time” in October via State Capital Records. This is the Lansing, Mich.-based band’s second full-length album of 2014. The blistering new disc includes r-n-r meltdowns like “Human Cancer,” but also shows notable progression in the band’s pop sensibilities and song arrangements with tracks like “Ones Forgotten,” “How Long” and “William’s Song.” Aside from the seven originals, two cuts are Ariel Pink covers. “Weekends Time” was recorded live in the studio in just three days, a first for the band. The LP cover may have Beach Boys inspired album art, but the tracks lean closer to Big Star, Rolling Stones and Velvet Underground . “I traveled to Michigan to record them for a few days,” said Dan Hewitt, owner of State Capital Records, a New York-based label. “What ended up happening was the full-fledged nine-track LP you have before you. As for recording, we tracked the whole thing to my 8-track. A lot of vintage mics were utilized. It was mixed at my home studio on an old console and even more vintage compressors and EQs were employed,” Hewitt added.

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