THE BABIES - 'S/T'

Formats

• SHR160CD - CD

  759718116021

• SHR160 - LP

  759718116014

Details

BACK IN STOCK!! In 2008, Kevin Morby moved into Cassie Ramone's small apartment in Clinton Hill, Brooklyn, for a few months. Morby, who plays bass in Woods, and Ramone, who sings and plays guitar in Vivian Girls, wanted to start a band. They both missed the sweaty loft shows they used to play before their bands moved on to larger venues and longer tours. Justin Sullivan, who had played with Ramone in Bossy, began practicing with them on drums, and The Babies debuted as a three-piece in March 2009 at Dead Herring, their friends' loft in Brooklyn. They played a few times before asking Nathan Stark, formerly of Bent Outta Shape, to join on bass, and the full lineup's first shows were that summer. The Babies wrote music and played shows in fits and spurts, whenever they all happened to be in town for a week. They recorded their self-titled debut album with Jarvis Taveniere at Rear House Studios, which doubles as Morby's home; his vocals were done in his own bedroom. (Taveniere, Morby's bandmate in Woods, has also recorded Real Estate, Vivian Girls and Woods.) The debut follows 7-inch singles on Make a Mess and Wild World. The Babies' songs are roughed-up jewels cut from the same cloth as Hazlewood and Sinatra, The Velvet Underground and Nico, Pisces and Linda Bruner, and other dream marriages. The band will tour the West Coast again in January, to where they're temporarily relocating for the winter to write their second record before going to Europe in the spring of 2011.Touring in March! CASSETTE copies to order only, and strictly no returns.

Tracks

1. Run Me Over
2. Sunset
3. All Things Come to Pass
4. Voice Like Thunder
5. Meet Me in the City
6. Personality
7. Breakin? the Law
8. Sick Kid
9. Wild 1
10. Wild 2
11. Caroline

Press

Debut long-player from supergroup
featuring Kevin Morby (Woods), Cassie
Ramone (Vivian Girls), Justin Sullivan
(Bossy), Nathan Stark (Bent Outta Shape).
a track already up for grabs on Pitchfork...

Audio & Video

THEE OH SEES - 'FLOATING COFFIN'

Formats

• CF018 - LP

  819162014660

Details

**LONG-AWAITED BLACK VINYL REPRESS OF THIS OH SEES CLASSIC NOW IN STOCK** We all know the type: prolific bands that commit every loose thought, stray idea and 90-second song fragment to tape. Bands that pay no attention to little inconveniences like "release cycles" or "self-editing," and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing and-ultimately-exhausting than the cast of creatures in a sci-fi novel. Here is why none of that applies to THEE OH SEES. Because each of the dozen-plus albums they've released since 2004 possesses a distinct personality and represents a different point along the path of JOHN DWYER's slow transformation from auteur of woozy, bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record and-to their great credit-it takes several songs before you're convinced it's Thee Oh Sees. The seasick hundred-bottles-of-rum shanty "What the Driven Drink," from 2007's delirious Sucks Blood exists in a different galaxy than the rollercoastering "Chem-Farmer" from last year's Carrion Crawler / The Dream; the doomy doo-wop of "Blood on the Deck" hardly seems like the product of the same band that delivered the yelping "Ruby Go Home" in 2009. And the band that made last year's engrossing Putrifiers II seems like a distant cousin to the one delivering Floating Coffin-arguably the most varied and textured Oh Sees record to date. Chalk some of the group's cunning chameleonic ability to Dwyer's fifteen-year resume. The driving force behind such beloved and sonically disparate bands as Coachwhips and Pink and Brown, Dwyer's increased fidelity to Thee Oh Sees and only Thee Oh Sees is evidence of a newfound sense of purpose and focus. Where once Dwyer used to funnel his divergent artistic ideas through a host of different channels, lately he's been finding ways to make all of those impulses function within the framework of Thee Oh Sees-who have in turn grown closer and tighter and sharper with each eye-popping, jaw-dropping live show. That sense of unity is palpable throughout Floating Coffin, the next chapter in the story of Thee Oh Sees, the one where they fix their fury against the onrushing night. It's another blistering demonstration of Thee Oh Sees greatest trick: they're the only prolific band who doesn't put out records often enough. ? A gnarlier, heavier side of band with some juicy synth smoochie action joining the party ? Packaged with drawings by Matt Brinkman and cover photo by John Dwyer

Tracks

N/A

Press

Audio & Video

SBT (SARABETH TUCEK) - 'JOAN OF ALL (UK TOUR EDITION 3CD)'

Formats

• OCOM002 - 2xLPs

  5060446128176

• OCOM123CD - 3xCDs

  5061041820243

• OCO002CD - CD

  5060446128152

Details

Special tour only numbered 3 cd package. (Albums Inc: Joan Of All / Get Well Soon / Sarabeth Tucek) #33 MOJO AOTY 2023 #28 UNCUT AOTY 2023 Sarabeth Tucek emerges from a decade-long hibernation with a new double-album Joan of All under the new moniker SBT – a longtime nickname given to her by the many musicians she has worked with throughout her career. After retreating from the fevered pace of the record business to concentrate on other creative endeavors, Sarabeth began to piece together the music that would eventually become her most ambitious, personal project yet – the sprawling double-album Joan Of All, which will be released world-wide on 19th May 2023 via her own freshly-minted imprint Ocean Omen. Sarabeth Tucek officially broke onto the music scene 2003 performing a series of spellbinding duets with Bill Callahan on the acclaimed Smog album Supper. This was swiftly followed by a memorable appearance in the prize-winning Brian Jonestown Massacre documentary DiG! Sarabeth also contributed material to their 2005 EP release, We Are the Radio. One of Sarabeth's compositions covered by the band on that EP, "Seer," would later be retitled and released in 2006 as Tucek's debut single, "Something for You”, which became Steve Lamacq’s Single Of The Week on BBC Radio 6 Music. Her self-titled debut album produced by Luther Russell and Ethan Johns hit stores the following year and garnered rave reviews in the press, leading her to supporting Bob Dylan and unfaltering support at the BBC. In 2011, Sarabeth followed up her extraordinary debut with a raw, uncompromising album entitled Get Well Soon, praised as an unflinching meditation on the subject of grief. This release made many year-end lists and the title track was featured on the first season of HBO’s Girls.

Tracks

1. Joan Says/Amber Shade
2. The Living Room
3. Cathy Says
4. The Gift
5. The Box
6. Work
7. Make Up Your Mind
8. 13th St. #1
9. Swings
10. Happiness
11. Something/Anything
12. Sheep
13. The Tunnel
14. Unmade/The Dog
15. Creature Of The Night

Press

ON TOUR 2024:

Sat 20th Jan Bristol Dareshack,
Mon 22nd Jan Norwich Norwich Arts Centre,
Tue 23rd Jan London The Waiting Room,
Wed 24th Jan Leicester The Musician,
Fri 26th Jan Glasgow The Hug & Pint (Celtic Connections),
Sat 27th Jan Gateshead The Glasshouse, International Centre of Music

MOJO - 50 BEST ALBUMS OF 2023, UNCUT 50 BEST ALBUMS OF 2023

Audio & Video

VOLKSEMPFANGER - 'ATTACK OF SOUND'

Formats

• CFUL0294 - LP

Details

Cardinal Fuzz (UK) and Feeding Tube Records (USA) once again join forces to release this behemoth of an album! “Attack Of Sound” is an unapologetic swooning love letter to pop music. It’s the perfect album, where dissonant and harsh guitars are juxtaposed with almost bubblegum pop. Sheets of feedback over inept tribalism and sugared by amazingly sweet vocals. This album works brilliantly as Ajay & Holly show their innate love of classic 60s pop and psychedelia as much as the Stooges. The ghosts of Love and Phil Spector haunt the wasted grooves of "What The Girl Does" and "Damned And Drowned", while the lurching punk noise mayhem of "How We Made It Seem" resurrects the in-yer-face Detroit icons like the MC5. "Attack Of Sound" remains a touchstone for all the people who ever believed that rock was for waking you up....equal parts Beach Boys’ melody and Velvets’ minimalism. It still provides that visceral thrill…an attack of sound!

Tracks

Press

Audio & Video

BHAJAN BHOY - 'SHANTI SHANTI SHANTI'

Formats

• CFUL0288 - LP

Details

Ajay Saggar is BHAJAN BHOY. Since his debut album was released in June 2020 (“Bless Bless”) he has been receiving critical acclaim for his recorded output and his live shows. His second album “Shanti Shanti Shanti” was initially released on a limited edition cassette in November 2022 on his own Wormer Bros. Records. However, when respected label honchos at Cardinal Fuzz (UK) and Feeding Tube Records (USA) heard it, they insisted that this mighty album deserved a vinyl release. This album is part of a triptych. The other two albums in this series (“To Love Is To Love Vols.1+2”) were released in March 2023 to universal acclaim, with publications such as Mojo and Uncut and the Wire heaping praise on the two albums. "Another fine release by Dutch musician Ajay Saggar. His basic thrust is modern psychedelia, minted from radio snippets, dubby reverb flapping, elegant guitar washing, electronic drones interwoven with flashes of mock jaw harp or sploshy drums, and a generally stoned atmosphere. And the concept is spectrally sound!" (Byron Coley / the Wire magazine...January 2023) The songs on this album are varied stylistically. Combining psych, drones, minimalism, free jazz, electronic music and dub in this work, this is another album's worth of musical joy and wonder for all to enjoy. 

Tracks

Cat On Arkengarthsdale
Red, Green & Gold
Stokely?s Rebellion
Kosmos Klub

Won?t You Wait?
I Love You So
Van Cleef Dub

Press

Audio & Video

VARIOUS - 'FLUX GOURMET - ORGINAL MOTION SOUNDTRACK'

Formats

• BING197 - 2xLPs

  600197019719

Details

*BLACK VINYL* Ba Da Bing is releasing the soundtrack to 2022’s paeon to cuisine prep, Flux Gourmet. A vibrant, four-coursed, 23-track double album, Flux Gourmet includes contributions by Heather Trost, Jeremy Barnes, Marta Salogni, Cavern of Anti-Matter, and Roj (Broadcast), as well as Strickland’s own compositions as part of The Sonic Catering Band. British Director and sonic pioneer, Peter Strickland, known for The Duke of Burgundy (2014), Berberian Sound Studio (2012) and Björk: Biophilia Live (2014), has always pushed visuals and narrative to absurd heights. In Flux Gourmet, performance artists taking part in a residency dedicated to sonic catering combining cooking, sound and theater. Food is amplified, microphones are jammed against blenders, and the sizzling sound of the frier turns becomes an ominous rattle. The film’s soundtrack is equally as process oriented, experimental, and kaleidoscopic as its protagonists’ practice. Contributors are Cavern of Anti-Matter, Jeremy Barnes, Heather Trost, Roj (formerly of Broadcast), Tim Harrison, Dan Hayhurst and Nurse With Wound. 

Tracks

Tracklist:
Side A:
A1. Heather Trost - Early Gardens
A2. Roj - Trip to the Shops
A3. The Sonic Catering Band - Death Borscht
A4. The Sonic Catering Band - The Third Gastric Surge of the Night
A4. Jeremy Barnes - The Funeral Table
Side B:
B1. The Sonic Catering Band - Greed
B2. The Sonic Catering Band - HLA-DQ8
B3. Heather Trost - Early Gardens (earlier)
B4. Roj - Trip to the Shops
B5. Nurse with Wound - Hindu Monastery Breakfast
B6. Tim Harrison - Ohmlette?s Law
Side C:
C1. The Sonic Catering Band - Vegetable Trash
C2. The Sonic Catering Band - A Sedimental Journey
C3. The Sonic Catering Band - Baron von Omelette
C4. The Sonic Catering Band - Dossier de Canteen
C5. Cavern of Anti- Matter - Insufflation Tube
C6. Jeremy Barnes - The Funeral Table
C7. The Sonic Catering Band - A Pain I Can?t Hold In
Side D:
D1. Heather Trost - Early Gardens (earliest)
D2.Dan Hayhurst - Monday Service
D3. Marta Salogni - Cross-Contamination
D4. Roj - Trip to the Shops (closing down)
D5. Jeremy Barnes - The Funeral Table (demonstration)

Press

Audio & Video

DANIEL LAND - 'OUT OF SEASON'

Formats

• HBLP2301 - LP

  809651700211

• HBCD2301 - CD

  809651700228

Details

Daniel Land's new album, "Out of Season", is his most ambitious record to date, a series of reflections on history, memory, and post-Brexit Britain, which was inspired by his return to the landscapes of his youth – the rugged, underpopulated west coast of Somerset. The album was written and partly recorded in Daniel’s studio in a static caravan, overlooking the coast, during the period when the UK was tearing itself apart over its relationship to Europe. "I didn't set out to write about Brexit", Daniel says, "I have a kind of horror of political music. But I couldn’t escape the atmosphere of the time – this strange, distorted version of ‘Englishness’ in the national psyche. I’ve always been interested in memory and nostalgia; Brexit illustrates the dangers of taking seductive, possibly false memories at face value”. Songs like “White Chalk”, “Island of Ghosts”, and the album’s title track, represent a series of attempts to reclaim an older, more peculiar idea of England which, Daniel says has been “Lost in the nationalist mythmaking of the past decades” – the island of misfits and outsiders exemplified by the works of Derek Jarman, for example, whom Daniel was rediscovering while working on the album. “I must have read 'Modern Nature' ten times over the years”, Daniel says. “What I love about Jarman is that he had a deep, abiding love for England, but it was a very complicated, critical and a very queer kind of love. That was very much my mood, going into the making of this album”. Like Jarman’s work, "Out of Season" probes national identity whilst also displaying resolutely queer themes throughout. Daniel’s voice – once described by The Guardian as "The spawn of Elizabeth Fraser and Anthony Hegarty” – is less heavily reverbed than before, bringing to the fore his often-confessional lyrics, inspired by the frankness of modern queer poets like Andrew McMillan, Seán Hewitt, and Ocean Vuong. A lyrical highlight is the gorgeous “Southern Soul”, a deceptively straightforward recounting of a decades-old hookup with a closeted guy from his hometown which, Daniel says, “Serves as a metaphor for everything I’m talking about in the album”. And in keeping with the album’s nods to the heroes of gay literature, Daniel’s self-styling of the album as a “Dream Pop Album on National Themes” deliberately references the full title of Tony Kushner’s era-defining play "Angels in America", whose central character is namechecked in the hook-laden “Lemon Boy” – a song which must surely stand as Daniel’s most deliciously pop moment yet. Lauded by Mark Radcliffe, Guy Garvey, Tom Robinson, and many others, Daniel Land makes music that, in the words of BBC Radio 1, "You can't help but think the late John Peel would have loved".

Tracks

01: Alison
02: White Chalk
03: Lemon Boy
04: Island of Ghosts
05: Another Year Older
06: Southern Soul

07: Out of Season
08: Idlewild
09: Put Your Broken Arrows Down
10: Summerhome by the Sea
11: Wolf Moon

Press

Lauded by Mark Radcliffe, Guy Garvey, Tom Robinson, and many others, Daniel Land makes music that, in the words of BBC Radio 1, "You can't help but think the late John Peel would have loved"

Audio & Video

THE TITILLATORS - 'THAT'S THE NIGHT'

Formats

• TAR116 - LP (COLOURED)

  5052442024965

Details

*ATLANTIC PEARL COL VINYL* The Titillators became a band in 2018 and emerge from a bold compulsion: to sound completely unlike any other musical group in existence. On their third album to date, That's The Night , it's clearer than ever that they've been successful in this endeavour. It's a tuneful, mainly instrumental batch of bent exotica played by a group of some of Toronto's most inventive and highly regarded musicians. And while listeners will catch aural whiffs of jazz, pop, soul, electronica, and free improvisation there's something irrefutably singular about their output. They're led by Ryan Driver, whom you may know from his solo recordings on Tin Angel, from groups such as Eucalyptus, and from his frequent collaborations with Eric Chenaux. Driver provides the compositions and plays street sweeper bristle bass, an instrument of his own devising consisting of a small tine of metal plucked on top of an amplifed cigar box. The ubiquitous and multitalented Thom Gill's whistling often plays a disconcerting lead role, while both he and acclaimed jazz pianist Tania Gill play synths. Meanwhile the trifecta of percussionists Phil Melanson, D. Alex Meeks, and Nick Fraser offer rhythmic interplay with one crucial caveat: none of them are permitted to play any component of a standard drum kit.

Tracks

Press

Audio & Video