GREG WEEKS - 'IF THE SUN DIES'

Formats

• LoS012 - LP

  657628456858

Details

Dormancy comes in many forms. For some it is a break from the world of stress and the constant demands one finds oneself under. For others it is a much needed respite from the grind, a time to disengage from the wheel and collect oneself for the next challenge. If The Sun Dies, Greg Weeks’ seventh release, is a signal that his respite is over. Pursuing creativity once again, Weeks finds himself in a period of explosive productivity. He has written an enormous number of songs over the past few years, enough to fuel five separate projects, including If The Sun Dies. In addition, he has rebuilt his Hexham Head Studio (still all analog, still twenty-four tracks) and resuscitated his label Language Of Stone (sans imprint status). If The Sun Dies, which takes its title from an Oriana Fallaci novel, is every bit a Weeks album: cryptic-poetic lyrics over melancholic melodies strummed on acoustic guitar and ornamented with the analog instruments he has forever treasured (Hammond Organ, Mellotron, Mini-Moog, and effects-laden guitars). However, the album feels like a departure, a maturation in both content and approach despite its many echoes from the past. The album’s running thread is melancholia, but lyrically the tunes couldn’t be more disparate. “If The Sun Dies” is an anthem that posits the end of things being the only means by which two people can find time to truly connect. “The Heathen Heart” speaks to one’s desire for salvation yet underscores a different, more frightening reality. The more narrative “A Narrow Star” follows a young woman’s journey into entropy, while “Tail Lights Burn The Hillside Red” explores the depression that likely drove her there. Shifting gears, “Dream You Awake” investigates the more archetypal territory of the star-crossed lovers, while “Driven” attempts, unsuccessfully, to put the genie back into the bottle. “Ridley Street,” a song about a stalker, is juxtaposed to “Rainless,” a song that believes in the transcendent power of love. While “A Million Ways To Die” and “Gone Darkside” tread quite literal territory, the album’s closer, “What It Takes” questions identity in the face of pharmaceuticals. Taken in total, the album amounts to a complete return to form.

Tracks

1. If The Sun Dies 2. The Heathen Heart 3. A Narrow Star 4. Tail Lights Burn The Hillside Red 6. Dream You Awake 7. Driven 8. Ridley Street 9. Rainless 10. A Million Way To Die 11. Gone Darkside 12. What It Takes

Press

Singer / songwriter, once a member of folk psych band Espers, returns after 15+ years. Cryptic, melancholic melodies on acoustic guitar ornamented with classic analog instruments

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TRISTAN PERICH & JAMES MCVINNIE - 'INFINITY GRADIENT'

Formats

• ERATP178LE - 2xLP (COLOURED)

  3700551786565

Details

From Bach to Brahms, Mahler to Messiaen, any composer worth their salt has written for the pipe organ. And so when James McVinnie put the idea to Tristan Perich to write for the king of instruments, it was perhaps not a surprise that the New York contemporary-classical composer had already considered the possibilities of marrying his signature 1-bit electronic music with an instrument that has reverberated down the centuries. Infinity Gradient is an hour-long symphony in seven movements for organ and 100 speakers in 1-bit audio, recorded for this album at London’s Royal Festival Hall at Southbank Centre, where McVinnie was artist-in-residence throughout 2024. The 100 speakers are set across the stage – a recurring element in Perich’s work for over two decades, this time featuring four giant subwoofers, 24 medium-sized speakers, and 72 small speakers – against the backdrop of RFH’s imposing organ; the piece is as visually striking to look at as it is to listen to. A remarkable work with few precedents, Infinity Gradient is a duet between two musical instruments, millennia apart in conception. Shot through with dynamism, it is a work of colour and contrasts which coalesce into a unique, transcendent whole. The kernel of an idea for the project first came to McVinnie when he heard Vicky Chow perform Perich’s Surface Image – an earlier, hour long work for piano and 40 speakers – in Latvia in 2016. A celebrated organist who has collaborated with everyone from Philip Glass to Squarepusher, McVinnie was “bowled over by Surface Image” and immediately saw the potential for a similar work for organ, with its direct correlation to the philosophy behind Perich’s 1-bit electronics. “When you press down a key on a pipe organ, it lets air into the pipe, which creates sound. Each pipe is either in a state of making sound or being silent. There is no decay, nor any obvious change to the sound until the key is released.” The same is true of Perich’s 1-bit electronics, which use binary pulses of electricity to set a speaker cone into motion and create sound. McVinnie continues, “This shared ‘on-off’ binary element offers a kind of beautiful honesty to the work, which links with the emotional core of its musical form and narrative. Despite all of its complex technology – for me – the experience of Infinity Gradient is a supremely human one.” Growing up, Perich’s primary instrument was the piano, though he also took a few lessons on pipe organ in elementary school and then, when he was at high school, he suddenly had access to one. As impressive as that instrument might have been, there’s little doubt it would not be able to compete with the 7,866 pipes of the organ in the Royal Festival Hall. Designed by Ralph Downes and installed by Harrison & Harrison between 1950 and 1954, McVinnie describes it as a “kind of mid-century dreamhouse.” He adds: “Downes was not part of the church music establishment, and thus was not wedded to a status quo about how organs should sound and what their function should be. Above all, he felt the organ should be a vehicle for its solo repertoire of a golden era of composition from the 18th century, rather than as an accompanying instrument for English choral music and church liturgy. The Royal Festival Hall organ was a kind of real maverick experiment in what it would be like to go back to the organ design principles of the 17th and 18th centuries. It has a striking liveness and fire to its sound, making it an ideal partner for Perich’s 1-bit electronics.” Naturally, the composer remains tight-lipped about what it all ultimately means, though his objective has largely remained the same these past 20 years or so. Perich’s modus operandi – combining the aesthetic simplicity of maths, physics and code with Steve Reich-like layers – needs to connect on some emotional level with human beings if it is to fulfil its purpose: “My music is only successful when there's an emotional component,” he says. “And I think that emotion can come from very, very simple things, like understanding the laws of gravity, being able to comprehend why something falls, whether it’s an apple or a ball or a leaf falling from a tree, which can be a really beautiful moment in itself. And, in fact, the leaf is perhaps even more beautiful because it interacts with air on its way down. And air is something you don't see but we know exists because of our scientific understanding of the physical world. It's in this interesting kind of phenomenon that we can find beauty purely on its own.

Tracks

Tracklist:
A
1. Infinity Gradient: Opening
2. Infinity Gradient: Section 1
3. Infinity Gradient: Section 2
B
1. Infinity Gradient: Section 3
2. Infinity Gradient: Section 4
C
1. Infinity Gradient: Section 5
2. Infinity Gradient: Section 6
3. Infinity Gradient: Section 7

Press

A duet between two musical instruments, millennia apart in conception

Audio & Video

BILDERS - 'NEVERLASTING'

Formats

• GY15-2 - LP

Details

Bilders new album, Neverlasting is a mix of psychic adventures, hard psychedelia and commentary with a bite. Bilders have always sung outliers with a heap of empathy—exploitation of migrants, unmitigated killing and the state of our depleted planet. This album maintains an analog feel with technical finesse as it casts a cold eye on uses and abuses of power in the higher echelons. It is pure Bilders. Surprise collaborations bring in fresh tangents of colour and emotional edge. “We are the Neverlasting renter-squatters of Earth exhausted”. The band is once again the voice/guitar of Bill Direen, bass of Matt Swanson and near everything else by Alex McManus, with guesting by former Bilders. It’s the same lineup as last year’s acclaimed Dustbin of Empathy, released by Grapefruit and Sophomore Lounge, and the first ‘core’ Bilders lineup to remain constant for more than one album. The new compatibility shows. It’s an album that builds on current strengths. Notable guestings include Athens Georgia lights Claire Horne of 1980s BBQ Killers, and Curtiss Pernice, guitarist of heavy vanguard Porn Orchard, with a snook-in from experimental and electronic prince Todd Gerber. Two never-released tunes by vintage Bilders (Stu Page and Greig Bainbridge) sit perfectly with the new material. This is quite simply the strongest Bilders album ever.

Tracks

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FUZZ - 'FUZZ'S FOURTH DREAM: SINGLES, DEMOS & RARITIES'

Formats

• ITR409 - 2xLP (COLOURED)

  657628456513

• ITR409CD - CD

  657628456520

• ITR409B - 2xLPs

  657628456513

Details

Fuzz, the California based trio of Ty Segall (vocals, drums), Charles Moothart (vocals, guitar), and Chad Ubovich (vocals, bass), present their latest release Fuzz’s Fourth Dream on In The Red Records. This is the band’s first release in four years and is a collection of singles, unreleased demos, and rarities. “I lived in a four-bedroom house in San Francisco that housed anywhere from six to ten people at a time,” Moothart explains. “Friends were always crashing when they were between spots, on tour, or just couldn’t make it home. It was a chaotic space, but a space that was cherished by many. Chad frequently crashed on our couch when on tour—surrounded by ashtrays full of cigarettes and joint roaches; beer cans and spray paint cans. “I remember jamming on guitar and drums with Ty at like 2 AM in the garage (still feel bad for putting the neighbors through that.) One day, under Ty’s guidance, I dragged a 388 in to the garage. I decided I wanted to write a Sabbath-style riff just to see what happens. I laid down some drums, then came up with what would become “Fuzz’s Fourth Dream.”.I showed Ty the ‘demo’ which was more of a sloppy idea. He basically said ‘Let’s make this band”... and Fuzz was off. “This collection really does give a proper road map to what this band is and was, as well as how the two connect,” Moothart explains. “Fuzz means a lot to me, and I have learned so much through these processes. Thank you to any one who has been listening to these songs since the beginning, and thank you to any one who is here for the first time.” FUZZ - Jack The Maggot (Demo)

Tracks

TRACK LISTING

1. This Time I?ve Got A Reason
2. Fuzz?s Fourth Dream
3. Sleigh Ride
4. You Won?t See Me
5. Rich Man, Poor Man
6. What?s In My Head (demo)
7. Sunderberry Dream
8. 21st Century Schizoid Man
10. ?Til The End Of The Day
11. I Just Want Your Everything
12. Spit (demo)
13. Red Flag (demo)
14. Rat Race (demo)
15. Loose Sutures (demo)
16. Pipe (demo)
17. Time Collapse (demo)
18. The 7th Terror (demo)
19. Jack The Maggot (demo)
20. The Preacher (demo)
21. Let It Live (demo)
22. Bringer Of Light (demo)
23. Say Hello (demo)

Press

Limited edition colour double vinyl packaged in a beautiful gatefold sleeve.

Audio & Video

JACKSON C. FRANK - '1975 MEKEEL SESSIONS'

Formats

• ASH105 - LP

  857661008612

Details

For years, Jackson C. Frank was as ghostly a legend as they come. Even the relatively few record collectors who revered his work were only aware of the lone LP released during his lifetime. For all most listeners knew, Frank made an incredible album in 1965 and then vanished, despite that record having been produced by Paul Simon. 1975 Mekeel Sessions features six tracks recorded in the mid-’70s at a studio in Lake Hill, New York about five miles from Woodstock where Frank was living at the time. Only uncovered decades later, these recordings hum with the same mysterious warmth that defined Jackson at his peak. His guitar work, alternating between strummed and fingerpicking, is perfectly understated. His stark and somber voice, more weathered than the lighter tone on his debut. While the Mekeel tapes were intended for Frank’s sophomore album, it never came to be. What one hears is not a singer-songwriter fading out of view, but rather a singular artist who never stopped trying to build his own world—even when no one was watching. For fans of everyone influenced by Jackson: from Nick Drake, Sandy Denny and Bert Jansch to more contemporary acts like Elliott Smith, Vincent Gallo and Iron And Wine who surely used Frank’s sparse approach as a template.

Tracks

1. Marlene 2. Marcy's Song 3. Madonna of Swans 4. Relations 5. Cryin' Like A Baby 6. The Visit

Press

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DANIEL O'SULLIVAN & RICHARD YOUNGS - 'PERSIAN CARPETS'

Formats

• VHF169 - LP

  783881016918

Details

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

Tracks

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CHIP KINMAN - 'CHIP KINMAN'

Formats

• ITR406 - LP

  657628454618

Details

In 2022, In the Red Records released The Great Confrontation, an album of instrumental electronic music by Chip Kinman. It was Chip’s first solo album; his previous recording, This American Blues, by his band Ford Madox Ford, was issued just prior to the 2018 death of his brother Tony. The Kinmans had been partnered musically since they were teens, in a variety of now-legendary projects: the OG California punk band the Dils, the pathfinding cowpunk unit Rank and File, the ear-shattering electro-rock duo Blackbird, and the Western music twosome Cowboy Nation. In the wake of The Great Confrontation, Chip and In the Red plotted another record. The resultant collection, Chip Kinman, is reflective, soulful, and profoundly affecting, a statement of identity and a look back at life that avoids the pitfalls that could derail an autobiographical work. "I had to figure out something to write about, and I thought, it’s time to make that record," Chip says. "A long time ago, Tony and I were talking about singer-songwriters, and he said, ‘If you’re going to sing about your life, you better have had a fucking interesting life.’ And I thought, I have. I’ve gotta deep-dive into that. I figured, if I was going to write about what it was like, how was I gonna approach that? How was I going to say that without being nostalgic or without being maudlin or without being over-celebratory? It it was, well, just say it like it was." The album features several moving, personal new songs: the heartfelt “Me and Tony,” about the Kinmans’ lifelong brotherly pursuit of music; “Goodbye Rock and Roll,” an account of a freshman summer fling with an “older woman”; and “So Young,” a look back at the Kinman crew’s nocturnal prowls of L.A. Looming mortality is touched on in “Brian,” a portrait of an L.A. musician coping with his partner’s death, and the staggering, literally cosmic finale “Forever Shining.” As its self-declaratory title suggests, Chip Kinman was largely a solo work, with its author producing and also playing most of the instruments (including, for the first time, drums). But some old punk compatriots leant a hand: Alice Bag of the Bags and Juanita and Juan, In the Red’s duo act with Kid Congo, Cliff Roman of the Weirdos, Mike Watt of the Minutemen and Ford Madox Ford’s drummer S. Scott Aguero. Chip says, “When I was writing I thought, ‘Who am I writing this for? Why am I still making records? Who’s gonna buy this record? Who’s gonna listen to this record?’ And I really wanted to make a record for people like you, people like me. I wanted to make a record for people who went through the same things I did, at the same time I did, who took that same musical journey at the same time I did. That’s really who the record’s for.”—Chris Morris, September 2025

Tracks

1. Brian 2. Que Voy A Hacer 3. Radio / TV / I?m In Love 4. So Young 5. Gonzo! FC 6. Goodbye Rock and Roll 7. Me and Tony 8. Drive Drive Drive 9. Nobody?s Son 10. Forever Shining

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Audio & Video

K.LEIMER - 'WEIGHTED ROOM'

Formats

• POL14.2026 - CD

  195269385347

Details

Each track of Weighted Room is shaped by multiple generations, arrangements, and voicing of the same starting material — drawing audio out of midi and flipping audio back into midi to be repeatedly rewritten, recast, retimed, and re-voiced. “Oddly enough by putting these tracks through dozens of iterations the music more or less determined its own form. As a result there’s way more variety here than is typical of any one collection of my work, but it still holds together as a singular statement” Leimer said. To complete the album Leimer edited, layered, and processed the seven pieces using different parts and passages from all their generations. Some versions contribute as little as a single sound, others form the overall structure, while still other generations play in the foreground, middle ground, or background. The track styles span ambient, dark ambient, new jazz, noise, and new classical with equal focus. As one example, the title track flips the relationship between a lead instrument and the ambient textures that were the original focal point of the music by obscuring its evolving, granular atmosphere with a more melodic sensibility, asking the listener to give attention to buried aura — emphasizing the inversion of traditional instrumental roles which is the defining characteristic of Weighted Room. Mastered by Taylor Deupree with cover art by Simon Adjiashvili, Weighted Room adds a distinctly new setting to K. Leimer’s catalog. 

Tracks

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FOG LAMP - 'STILL ENTANGLED'

Formats

• SB202 - LP

Details

SF's Fog Lamp have been at it for a few yrs now, repping heavily around the local environs, garnering a solid word-of-mouth reputation. Originally a trio sans tubs, the synth-driven iron gulp of their early days was like Animal of Anti-Nowhere League crashing a Cabaret Voltaire rehearsal. 'Power to the paradox' I like to say, or in the immortal words of Tug McGraw, "Ya Gotta Believe!" So after a couple tapes & whatnot, Siltbreeze got clued in & have solidly backed their debut vinyl lp, Still Entangled. Along the way, the band enlisted the solid drumming prowess of Rachelle Hughes & by doing so, Fog Lamp have zoned in an intensive, beguiling churn of Dossier era Chrome slipping into The Sleepers panic-creep of 'Painless Nights'. Their hauntingly dense & layered murk is as authentically Bay Area as a bowl of Cioppino. Look for them on tour (West Coast only) in Jan. of 2026. Flannel is the new Goth.

Tracks

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THE DAHLMANNS - 'LEATHERBOYS'

Formats

• PLATO233 - 7"

Details

A box of this limited 7” showed up in the post, The Dahlmanns’ new single.. Norwegian power pop masterminds scoring dues from their whole rock and roll journey, Suzi Quattro, Dictators, Stooges, and all the great Scandinavian power pop / garage rock scene. Its been 15 year ssince their debut, and they still have a knack for perfect pop tunes wit ha hard edge. The A-side is a classic power pop, clap along to this… Line says ”the lyrics are inspired by the images of Finland’s Touko Laaksonen. It’s about a ”Tom of Finland” type character meeting up with his gang to attend shows at Max’s Kansas City in New York”. And on the flip, the Dahlmanns have turned a Prince classic into one of their own, Line explains, ”In my early teens, around the time of the release of his ”Sign O’ The Times” album I was obsessed with Prince. I never cared much for the over-the-top, experimental funk stuff but I liked ”Controversy” and ”Dirty Mind”, the latter includes another pop gem, ”When You were Mine”. ”Dirty Mind” was released on October 8th 1980, Johnny Ramone’s birthday and also mine. Such coincidence in life makes me happy”. A new album is pending, but jump in quick to get ahold of one of these 7”s.

Tracks

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WINGED WHEEL - 'DESERT SO GREEN'

Formats

• 12XU172-1 - LP

Details

“So, how did this band even happen?” That’s the question most often asked of Winged Wheel, a creatively and geographically scattered collective who have somehow congregated to make a noise that’s unexpected but undeniable. The band includes Whitney Johnson (Matchess, Circuit des Yeux), Cory Plump (Spray Paint, co-owner of the dream venue Tubby’s), Matthew J. Rolin (solo guitar wizard and half of the Powers/Rolin Duo), Steve Shelley (Sonic Youth), Lonnie Slack, and Fred Thomas (Idle Ray, Tyvek), each player living in a different city and bringing their own unique element to the group’s chain reactions. Early long distance file-trading between a few members yielded 2022’s No Island, a debut album that was accidentally really good. Good enough for the band to expand their membership and meet in person for the sessions that became 2024’s Big Hotel, a surgically-assembled murk of high energy kosmische rock with jammed-out tendencies. Fast forward just a little and all of a sudden the band that started out as a passing idea has completed multiple tours, become a taper’s dream with sets that drift through structure and improvisation, and ridden the momentum to places unforeseen on their third album, Desert So Green. After a run of shows across the Midwest in the spring of 2025, the group settled into a studio on the outskirts of Chicago to track their next record. Though the full lineup had only been solidified for a little over a year at this point, time together on stage led to a quickly-expanding sound and a unified vision of always going somewhere new. To this end, Winged Wheel abandoned the play-now-sort-it-out-later approach of Big Hotel and instead spent hours refining flashes of inspiration into coherent songs. Full-blast, krautrock-informed jamming took a backseat to deeper experimentation, and the band found new dimensions, different atmospheres. The arrangements are still dense with layers of synths, noisy disruptions, and glowing orbs of alien sound, but every shift is considered and intentional. It’s an album that spends its duration struggling to balance a scale with excitement on one side and anxious tension on the other. Things move a little slower and the aftershock hits harder than the initial adrenaline rush. While Desert So Green is defined by a newfound restraint, there’s also an intensity that never lets up. “Bird Spells” pulsates perpetually at the edge of a breaking point, moving through various storm systems before finally, momentarily, finding a break in the clouds. Can-esque rhythms, scrapes of viola, and Throbbing Gristle-level decay all get dubbed into infinity on the absolutely demonic “Canvas 2.” Rolling waves of percussion and treated instruments try fruitlessly to climb their way out of a slippery well on the churning closer “The Suite Goes Quiet.” At times, some ripping weirdness cuts through the simmering. Syncopated dual guitars lock in on “Speed Table” while Shelley destroys the kit as only he can, and Slack’s greasy steel guitar riffing of “I See Poseurs Every Day” evokes scenes of a truck stop showdown between ZZ Top and the Silver Apples. “Beautiful Holy Jewel Home” is the closest Winged Wheel has ever come to straightforward melodic tuneage, and it still arrives in a form that’s uneasy and fragmented. Desert So Green represents yet another transformation for Winged Wheel, one that takes them into a space of sharpened dynamism and more nuanced expression. The energy that arrived all at once in loud explosions on earlier albums is refracted here, and all the more powerful when broken down. It’s a set of strange songs that demand close inspection and reward this attention with a clearer view of the band’s individual personalities, and the separate alchemical presence that emerges when these personalities come together. Desert So Green changes gears, defies probability, confounds in strains of joy and confusion, and leaves us wondering, once again and still without answers, how did this band even happen?

Tracks

1. Canvas 11 2. Canvas 2 3. Speed Table 4. More Frog Poems 5. Beautiful Holy Jewel Home 6. Canvas 8 7. Bird Spells 8. I See Poseurs Every Day 9. The Suite Goes Quiet

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