DATENIGHT - 'BAD TIMES / NOT MYSELF'

Formats

• TMR417 - 7"

  813547024756

Details

We are proud to release the second ever vinyl release from garage stomping, punk slugging rockers Datenight. Datenight have been playing what feels like every good show in Nashville for the past couple years. Their manner of smearing punk music with extra distortion and a dollop of pop, in the vein of Toy Love and the Oblivians, is incredibly contagious and just fun to see live. Anchored by impenetrable brickwall drumming, their A-side single “Bad Times” is an energetic maelstrom centered around the chorus mantra “can’t do it all by myself!”, which acts as a welcome invitation to the crowd to yell along with them.

Tracks

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THE REBEL - 'RIDING IN THE SUN / WHY MUST I PAY'

Formats

• TMR410 - 7"

  813547024770

Details

Known best as the frontman of Scottish arty punks the Country Teasers, Ben Wallers has been expanding his smart and avant-garde deconstruction of punk music as The Rebel. With these songs, there is distinct focus on the state of being on the outside looking in. This is not music burdened by the hustle and bustle; rather, it’s measured and critical and feels rooted outside city pressure. The songs are characterized musically by drum machine and synth stabs with loose-handed guitar, that is to say desolate and questioning. On the b-side, “Why Must I Pay” carries a biting critique; all macrostructures, not just punk or music, come into a disassembling, blinding spotlight - healthcare, monetary systems, humankind’s “gains.” Leave preconceived notions at the door and take notes.

Tracks

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SPRAY PAINT - 'CUSSIN''

Formats

• TMR403 - 7"

  813547024718

Details

The Third Man team have been fanatics of Spray Paint’s sound for a minute. Their sound hits the sweet spot between the atonal movement of no-wave and nihilistic post-punk, like Mark E. Smith covering MARS. This chronicle of their live set in the Blue Room is excellent evidence. The fi rst track, “Cussin’”, originally released as an A-side in 2014, is even more tense and volatile in this live recording, held together by the loose glue of its hypnotic rhythm section. In light of the noxious political present, these live songs feel very urgent and necessary.

Tracks

1. Cussin?
2. Rest Versus Rust
3. Bad Times
4. Spock Fingers

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KING KHAN & THE GRIS GRIS - 'MURDERBURGERS'

Formats

• EJRCKK140 - LP

  0600064794015

Details

King Khan, master of psychedelic R&B, used all of his magic to reunite one of his all time favourite bands "The Gris Gris" from Oakland, California to back him up on this long player. Produced by Greg Ashley at his Creamery Studio which has since disappeared because of the continuing gentrification of Oakland. This album shows a more singer/songwriter side to King Khan, while mixing in his classic garage punk swagger and many more subtle influences here and there. You can taste alot of Stooges, screaming saxes in full Steve Mackay style, pounding pianos, some Bakersfield California Country swing, some haunting desert sunset vibes and most of all the classic rock n' soul that has become King Khan's genuine signature sound. The resulting gumbo is as tasty as ever and even has the Oakland Taco King, Oscar "El Tacoban" Michel on Bass and legendary Oakland drummer for hire Garrett "with an A in the O" Goddard bashing the skins. "We made this album in about one week, I got the Gris Gris to back me up and do a few shows in all the murder capitals of America. In Chicago we even had Andre Williams come and join us on stage for a song... it was quite a trip, and then we holed up at the Creamery and put it all on to analog tape with Greg Ashley twiddlin his knob like there was no tomorrow. It was a bitch slappin' good time and a tribute to how much love i have for Oakland and especially to all the good times we had at the Ghost town gallery and eating Big Poppa's burgers. Oakland may never be the same, but it will always be in my heart!" - King Khan "Too Hard and Too Fast" and "It's Just Begun" were co-written by King Khan's little brother Dr. Faiz A. Khan, who is usually helping Inuits in the frozen north with health problems or doing research on people suffering from AIDS and Tuberculosis. His research has helped change the way hundreds of thousands of people get treated mostly in the third world and perhaps that is why he isn't allowed to share the spotlight. "I'd like to give my little brother more props, since what he does to save lives is never given any importance, but now maybe cuz he exercised his songwriting here he can finally get celebrated for being the amazing human being that he is."

Tracks

01. DISCRETE DISGUISE 02. IT'S JUST BEGUN 03. RUN DOGGY RUN 04. IT'S A LIE 05. BORN IN 77 06. DESERT MILE 07. TOO HARD AND TOO FAST 08. YOUR TEETH ARE SHITE 09. BORN TO DIE 10. WINTER WEATHER

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SABA LOU - 'PLANET ENIGMA'

Formats

• EJRCKK131 - LP

  0600064793117

Details

"Her debut album is the best damn thing in the world - except for the album she's about to make. (...) So here is a document to a time in your life that I hope has not expired. Here is a breeze for your soul, a spur for your heart and a setting for your daydreams. Simply put, here is a reminder of all the things that make life worth living." - Jared Swilley (The Black Lips) Saba Lou was born in the year 2000 in Kassel, Germany. She moved to Berlin with her family in 2005. She began her recording career at the age of 6, putting out a 4 song 7-inch on Atlanta's Slaughthaus/Rob's House Records. At the age of 8 she recorded "Good Habits (and Bad)" which was then used for the end credits on Cartoon Network's "Clarence" T.V. show. The song was also released in 2012 on the "Until The End" 7-inch on Seth Bogart's (aka Hunx) label Wacky Wacko records. Saba Lou recorded her debut album "Planet Enigma" this year at the age of fifteen. Ryan Sambol, of the Strange Boys, makes a guest appearance on "Our Fate". Erin Wood from the Spits also sings back ups and provides some space synth on "Planet Enigma". The album was recorded at Moon Studios, Berlin in late 2015 - early 2016. Saba Lou is currently finishing up high school in Berlin. Her hobbies are drawing, collecting records, reading and writing songs. 

Tracks

01. LET'S GO 02. LITTLE RAG DOLL 03. I'M NOT YOUR GIRL 04. COME ON BABY 05. MERCHANDISE 06. SO FAR SO CLOSE 07. GOING THE WRONG WAY 08. TAKE ME OUT AGAIN 09. CAN'T STOP THINKING ABOUT YOU 10. IN A DREAM

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NAZORANAI - 'BEGINNING TO FALL IN LINE BEFORE ME, SO DECOROUSLY, THE NATURE OF ALL THAT MUST BE TRANSFORMED'

Formats

• W25-02 - LP

  855985006932

Details

Nazoranai is the supergroup of Keiji Haino, Oren Ambarchi and Stephen O’Malley. For close to four decades, Haino has been a legendary figure in Japan’s avant-garde community through his commanding presence in the band Fushitsusha and numerous solo ventures. Ambarchi, a prolific electro-acoustic composer of heavy ambience and hypno-rock, has long stood at the leading edge of Australia’s experimental music scene, while O’Malley remains a principle architect for the drone / doom metal project Sunn O))) in harnessing extreme sub-harmonic frequencies. Collectively, Nazoranai operates as a live recorded collaboration, although Haino is quick to point out the difference between the words “nazoranai” (which in Japanese calligraphy means “not repeating,” as in developing a distinct, individual style) and “sokkyō” (referring specifically to improvisation). In this parsing of terms, the group separates themselves from the free-music scene, which can be just as convention-bound as the established genres from which improvisers hope to escape. On the trio’s third album, Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed , Nazoranai explore two side-long tracks of superb abstraction. Ambarchi and O’Malley provide the perfect brute-rock rhythm section to Haino’s wrecklessly pure expression through instrument and voice. Blurred noise, dark hurdy-gurdy and thunderous harmonics build an accretive mantra of jagged electricity. While Haino’s extensive discography resists easy interpretation, he constantly challenges himself to further his art by channeling the unknown. Shifting from his native Japanese to English, he asks: “Do you still have a mystery?” This existential plea could apply to the artist’s own deep inquisitions or stand to confront his audience about that which eludes their understanding.

Tracks

1.
Part 1
2.
Part 2

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R.I.P. - 'STREET REAPER'

Formats

• EZRDR082 - LP

  603111719917

• EZRDR082CD - CD

  603111719924

Details

When R.I.P. came crawling out of the sewers of Portland, Oregon, last year, their grimy, sleazy street doom was already a fully formed monstrosity, quickly infecting the minds of everyone it encountered. Now, borne from the band’s declining mental health and an increased focus on songwriting, Street Reaper is even more unhinged and menacing than their debut In The Wind. Borrowing equally from ’80s Rick Rubin productions and Murder Dog magazine aesthetics, this latest album is a streamlined yet brutally raw manifesto of heavy metal ferocity hearkening to the era when both metal and hip hop were reviled as the work of street thugs intent on destroying America’s youth. Throughout, Angel Martinez’s guitar and John Mullett’s bass are inextricably interlocked like a massive sonic steamroller, while drummer Willie D keeps the beat solid and simple for the most powerful impact. Plus, the band’s extensive touring and excessive virgin sacrifices have provided singer Fuzz evermore agile vocal chords to drive it all home with extreme precision. Operating on the belief that doom is not tied to a tuning or a time signature, but rather a raw and terrified feeling, R.I.P. eschews well-trodden fantasy and mysticism tropes of the genre and focuses on conveying the horror and chaos inherent in the everyday reality of the human mind. • Portland street doom band’s latest is a raw manifesto of heavy metal ferocity • For fans of Saint Vitus, Pentagram, Motörhead, early Metal Massacre compilations

Tracks

Unmarked Grave
Street Reaper
Mother Road
The Dark
The Other Side
Shadow Folds
(CD only TRACKS )
Brimstone
The Cross
The Casket
Die in Vain

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