DION - 'S/T'

Formats

• AGIT044RP3 - LP (COLOURED)

  5061041822124

Details

300 COPIES REPRESS 'CRYSTAL CLEAR' VINYL *DION LUNADON’ debut solo album from .. 2018… finally gets a repress... Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

Tracks

01. Insurance, Rent And Taxes
02. Reduction Agent
03. Fire
04. Com/Broke
05. Hanging By A Thread
06. Move
07. Eliminator
08. Howl
09. Ripper
10. White Fence
11. No Control

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Audio & Video

CRACK CLOUD - 'PEACE & PURPOSE'

Formats

• MM17LP - 2xLP (COLOURED)

  5061041821912

• MM17CD - CD

  5061041821929

Details

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

Tracks

1 - Peace & Purpose 2 - Safe Room 3 - Not The Same Thing 4 - Life On A Farm 5 - Pick Apart 6 - Marathon Of Hope 7 - Stop Cutting Me Down 8 - Shut The Fuck Up 9 - Reunion 10 - Phantom Limb 11 - Thoughts On My Faith 12 - Eris On The Run 13 - Red House 14 - Truth in Trauma

Press

Follow up to 2024's RED MILE (JAGJAGUWAR)

Audio & Video

RUIDO SELECTO - 'CANONAZOS EN DUB'

Formats

• NS029 - 7"

Details

ON MANZANITA RED COLOUR VINYL A heavyweight slice of Caribbean DUB! Between 2021-2023 Ruido reworked original Discos Fuentes masters with vintage gear, transforming Colombian tropical classics from the 60's into raw, energy-dubbed, remixed, and reimagined for today. An essential 45RPM for dub heads and tropical groove lovers worldwide.

Tracks

1. Cumbia Saramuya (Rebajada Dubmix) 2. Mosaico y Descontrol

Press

Audio & Video

ANIMALEJA - 'NOSTALGIA DE MAR REMIXED'

Formats

• NS027 - LP

Details

Animaleja (Medellín, Colombia) and No Sabes (Nashville, Tennessee) unveil Nostalgia De Mar Remixed a special edition that brings together eight artists from across the globe. From the tropicanibalismo of Meridian Brothers in Bogotá and the experimental guaracha of DJ Malicia in Medellín, to the digital cumbia of Ruido Selecto weaving Latin roots with bass music, the album traces a sonic journey across continents. In Japan, Nickelman and Boogie Mason reimagine tropical sounds through lofi beats and hip hop, while in Amsterdam Apichat Pakwan fuses Asian tropical bass with contemporary electronica. Back in the tropics, Palka (Chiriki Records, Panama) offers a downtempo universe, and on the Mexico–Los Angeles border, 714 channels the power of the Latin club scene. Nostalgia De Mar Remixed is a global dialogue of rhythms, voices, and territories, where tropical roots find new forms beyond borders.

Tracks

: 1. Una Isla (Meridian Brothers Remix) 2. Las Palabras Van (Malicia Remix) 3. Lapo De Agua (Ruido Selecto Remix) 4. T? Me Traes Calma (NICKELMAN Remix) 5. Las Palabras Van (Apichat Pakwan Remix) 6. Selva (Palka Remix) 7. T? Me Traes Calma (Boogie Mason Remix)
a 8. Las Palabras Van (Siete Catorce Remix)

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Audio & Video

BILL FOX - 'RESONANCE'

Formats

• EHRC0015 - LP

  859703535483

Details

The return of Cleveland Ohio's songwriter laureate with the first LP of unreleased music in 13 years. Bill Fox fronted the power-pop band The Mice and won acclaim with solo albums Shelter From the Smoke and Transit Byzantium; his new album Resonance has won national acclaim and been featured in multiple reputable periodicals as a triumphant return to music. With his first LP since the re-issue of 2017’s Before I Went to Harvard, Bill Fox won international acclaim with 2025’s Resonance (Eleventh Hour Recording Company), a collection of never-before heard tracks that span his career. Sequenced, restored, and remastered into a cohesive statement, Resonance was hailed as “full of sharp lyrics, vivid imagery, crushing confessions, and endearing musical flourishes” (Pitchfork) with tracks such as Terminal Way being “a great example of his knack for McCartney-like pop craftsmanship” (Uproxx). Known for both his beloved solo releases Shelter From the Smoke and Transit Byzantium as much as his power-pop garage group with brother Tommy in The Mice, Fox has long been admired by fellow musicians and music fans alike who have praised his plainspoken lyricism and melodic instinct. Much like those critically heralded releases, “Resonance is uniformly excellent and presents an ideal entry point for newcomers” (Uproxx). A study in contrasts: stark acoustic confessionals sit alongside bursts of power-pop energy, Resonance’s fidelity ranges from cassette hiss to studio clarity. Songs like “Lift Your Heads,” and “Meat Factory” showcase Fox’s gift for blending social commentary with timeless melody, while “Wildflower” blooms with Guided By Voice’s Doug Gillard’s acoustic guitar and Karen Golden’s vocal harmony. The closing track, “Got Her on My Mind,” recalls the scrappy verve of The Mice but with the wisdom of a songwriter who has weathered decades on his own terms. One of the hallmarks of Bill’s music as a whole that helps make Resonance unique is its embrace of imperfection. From the playful outlier “The Biggest Sale” to the lo-fi intimacy of “Desperation,” the LP achieves a balance that feels both fragile and profound; whose beauty lies in its minimalism and flaws, its patchwork textures, and its refusal to chase polish or trends. Resonance doesn’t just reaffirm Bill Fox’s cult status—it deepens it, carrying forward the hallmarks of Fox's catalog while daringly breaking new ground.

Tracks

1. Terminal Way 2. Meat Factory 3. Wings Of December 4. The Biggest Sale 5. Wildflower 6. Man Of War 7. My Servin' Time 8. Life Your Heads 9. Desperation 10. Instrumental 11. Got Her On My Mind

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Audio & Video

BILL FOX - 'ALASKA'

Formats

• EHRC016 - 7"

Details

"Alaska" (Side A) is a poignant folk love song about departure and hope. This recording features some eloquent guitar work by guest artist Doug Gillard who has previously contributed his skills to such artists as Nada Surf and Guided by Voices. :Alaska: is a rare Bill Fox recording in a full professional studio setting. "Pale Blue Eye" (Side B) is an energized take on the Velvet Underground classic, this recording features an experimental eclectic ensemble of percussion (by brother Tommy Fox and friends) with pulsive searing acoustic guitar. Bill's version is a head on celebration of audial unconventionality.

Tracks

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Audio & Video

BILL FOX - 'BEFORE I WENT TO HARVARD'

Formats

• EHRC003 - LP

  199874002293

Details

Eleventh Hour Recording Co. presents a remarkable reissue that gathers together a wealth of otherwise unreleased Bill Fox material, offering listeners a deeper glimpse into the songwriter’s singular world. This compilation showcases Fox at his most versatile, moving effortlessly between intimate folk balladry and sharp-edged power pop, while also highlighting his collaborative spirit through rare tracks with The Radio Flyers. The collection features standout folk songs that exemplify Fox’s plainspoken poetry and melodic instinct, including “Standing On Nothing Now,” “Greenlove,” “On The Way,” and the aching “Chain To Your Heart.” A cover of Peter Laughner’s “Baudelaire” is reimagined with Fox’s understated delivery, while two traditional folk numbers add texture, even if they feel less essential. The real revelation, however, comes with the inclusion of three Radio Flyers tracks: “I Only Did It Cuz I Felt So Lonely,” penned by Wally Bryson is pure power-pop brilliance; Fox’s own “Alienated” brims with urgency and bite; and “Whenever I” closes their contribution with another undeniable gem. What makes this reissue so compelling is its patchwork quality. Like much of Fox’s catalog, it embraces imperfection, balancing lo-fi intimacy with flashes of studio clarity. The sequencing allows the listener to move between hushed folk confessionals and full-band energy, creating a dynamic portrait of an artist who has always resisted easy categorization. For longtime admirers, the Radio Flyers tracks alone make this a must-have; for newcomers, the folk songs provide an accessible entry point into Fox’s enduring craft. This release is more than a stopgap or curiosity—it’s a vital addition to the Bill Fox canon, reaffirming his place as one of the most distinctive voices of indie folk and power pop.

Tracks

1. Standing On Nothing Now 2. Talk Of Revolution 3. Greenlove 4. Mary Ellen's Cemetery Gray 5. House Carpenter (Traditional) 6. I Only Did It Cuz I Felt So Lonely (W. Bryson) 7. Sing Down 8. Chain To Your Heart 9. Alienated 10. Baudelaire (P. Laughner) 11. Gales Of Glory 12. Whenever I 13. On The Way 14. Sal's Got A Meatskin (Traditional)

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Audio & Video

REDD KROSS / HARD ONS - 'TOUR SPLIT'

Formats

• CRT335 - LP

  742978168695

Details

Two titans of power-pop and punk rock reunite this March. LA cult legends REDD KROSS, celebrating 45 years of dayglo hooks, sly wit and sky-high choruses, join forces once again with Aussie icons THE HARD-ONS, fronted by the incomparable Tim Rogers, for a long-awaited tour across Australia. With new music in tow and a shared history of high-volume brilliance, the two pioneer bands are set to light up stages from Queensland to Victoria. Expect high-voltage singalongs, fuzz-drenched anthems, and a masterclass in melodic brilliance from two of rock’s most enduring and prolific forces. REDD KROSS & THE HARD-ONS. From LA and Sydney respectively. Separated by an ocean, but with ties that go back to when they were label mates on the US Big Time label in 1987 and maybe even further. Beyond that the connections are plentiful; both started playing out on their respective punk scenes when they were very young - Redd Kross as pre-teens and mid-teens in '79-80, The Hard-Ons as mid-to-late teenagers in '82-83 - and both ruffled plenty of feathers when they did. Both bands transgressed the accepted boundaries of punk, and both pushed audience excitement buttons with high energy, great tunes, an outrageous visual element and a willingness to not only include '60s pop influences into their punk sounds, but also flashy and trashy '70s hard rock. Indeed, two bands were arguably the first two to understand the musical thread that joined Kiss and the Ramones, and in doing so they together helped make the world a brighter place. Current Hard-Ons singer Tim Rogers goes back decades with Redd Kross too - a young You Am I were on the bill when Redd Kross toured Australia with the Hoodoo Gurus back in 1994. REDD KROSS & THE HARD-ONS have also recently both celebrated anniversaries and received the kind of kudos that only occasionally comes with their levels of dedication and perseverance. Redd Kross last year marked their 45th anniversary with their most acclaimed album to date (a self-titled double LP on In The Red Records), as well as a revelatory movie documentary and book. The Hard-Ons celebrated their 40 years with a film of their own - a sequel to that is doing the rounds now - and continued their run of Top 40 records (which began in 2021 with their first album with Tim Rogers and their first for Cheersquad Records & Tapes, the #4 album I'm Sorry Sir, That Riff's Been Taken) with last year's I Like You a Lot Getting Older.

Tracks

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Audio & Video

ORCHESTRA GOLD - 'BAYE ASS N'DIAYE'

Formats

• OG004 - 7"

  657628453772

Details

This song is an hommage to Mariam's respected guru in the Baye Fall tradition, Baye Ass N’DIAYE. Mariam encourages us to value our direct, mystical experience of the divine over legalism and dogma.

Tracks

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Audio & Video

ORCHESTRA GOLD - 'DJAMA KO'

Formats

• OG005 - 7"

  657628453789

Details

A song reminding us to just be ourselves. One poignant lyric states “Some clothes just look better on some people than others”. It’s about not getting caught up in comparison, and leaning into what makes us uniquely special.

Tracks

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Audio & Video

BILL ORCUTT - 'MUSIC IN CONTINUOUS MOTION'

Formats

• PAL096 - LP

  840526501953

• PAL096CD - CD

  840526502929

Details

Music in Continuous Motion, Bill Orcutt’s latest entry into his 21st-century repertoire of quartet guitar music, pointedly steps away from the cut-and-paste constructivism of Music for Four Guitars into a sonic stratum that's yearningly melodic, resolutely human, and built for performance. Conceived for a 2026 NYC concert, Music in Continuous Motion shares the concision of its predecessor—but rather than the discrete, mechanistic precision of Music for Four Guitars, the tracks on Music in Continuous Motion unify—each song weaving four gleaming threads into the warp and weft of an evolving, complex texture that employs simple, repeating motifs to build new melodies from counterpoint itself. It accomplishes this in the most efficient manner possible: most of these 12 tracks hover around two-and-a- half minutes, each iterating first the substrate, then the melody and its variations, then slamming shut like a clockwork music box. Based on previous recorded evidence, Orcutt is fond of boundary conditions for his studio guitar records. Much of the time, his launchpad is obvious (The Four Louies, How to Rescue Things); with others, it’s intentionally obscured. When recruiting me to write about each release, he might send me a clue (“This is a bridge pickup record more than a neck pickup record,” Orcutt helpfully offered for Music for Four Guitars). Although any given dispatch is a potential red herring, up until now, each has implied an Oulipian conceit (however obtuse) that at least somewhat determines the outcome. Thus, I was a bit surprised by his statement on Music in Continuous Motion—“The mystery of how [the] same person, same process, same gear produces different results." When pressed, he elaborated that the record features “no triplets,” something I’ve yet to count out to determine for myself. Whatever overarching form the recording process may have mapped out, the path of the finished album is explicitly poetic. Echoing its predecessor, the song titles, read in sequence, paint fleetingly-glimpsed forms—but in contrast to the distant shapes described in Music For Four Guitars, the present narrative spotlights the dance of polygons momentarily grasped (and then lost) as they spin through space: “Because sharp also smooth,” “And warm to the touch,” “Now nearly gone,” “Yet always moving,” “Impossible to reach.” Ultimately, the key difference between the albums (and what places Music in Continuous Motion in the realm of poetry) is its celebration of movement over immutability, of melody over form, of music as a hot wire to the heart rather than another upped ante in an arms race of inscrutability.—Tom Carter

Tracks

1. Giving unknown origin 2. Unexpectedly heavy 3. Reflective, silent 4. Because sharp also smooth 5. And warm to the touch 6. Now nearly gone 7. Unfinished not fragile 8. Yet always moving 9. Impossible to reach 10. Is left alone 11. Barely there 12. Or difficult to see

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Audio & Video

ELIANE RADIGUE - 'OPUS 17'

Formats

• IMPREC497CD - 2xCDs

  793447549712

Details

Eliane Radigue's complete Opus 17 (1970), her finest and final work created using feedback, is contained on this double CD. With Opus 17 Radigue perfected her slow mixing technique with sublime results. Imperceptible transformations envelop the attentive listener who is confronted with an immensely physical experience. Time is suspended in powerfully poetic and artful ways as Radigue masterfully sculpts the physical matter of sound using feedback for the last time. Opus 17 is an absolutely essential masterpiece in the realm of early electro-acoustic/drone/minimalist composition. Metallic silver ink printed on high gloss paper.

Tracks

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Audio & Video

ELIANE RADIGUE - 'TRIPTYCH'

Formats

• IMPREC260 - CD

  79344752602

Details

Eliane Radigue: Arp 2500 Synthesizer "Back to music after three years of silence.... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27, 1978. "Recorded in the composer's studio in Paris. "After the premiere of Adnos I in San Francisco in 1974, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth.... Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. "This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980), Adnos III (1981), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley -, Jetsun Mila (1986), as well as the Trilogy of Death: Kyema (1988), Kailasha (1991) and Koume (1993)." ~ Manu Holterbach (translated by Maxime Guitton) Archival images included in the accompanying booklet.

Tracks

Part 1 17:47
Part 2 24:23
Part 3 19:27

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Audio & Video

ELIANE RADIGUE - 'VICE VERSA, ETC.'

Formats

• IMPREC259 - 2xCDs

  793447525921

Details

Eliane Radigue; feedback on magnetic tape Includes archival photographs and liner notes. "1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage. "In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, among others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc…, which appears to be her very last feedback loop composition. "Vice-Versa, etc… was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace.

Tracks

Disc One:
1. Onward 9,5
2. Onward 19
3. Onward 38
4. Onward 76

Disc Two:
1. Backward 9,5 Backward 19
2. Backward 38
3. Backward 76

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Audio & Video

ELIANE RADIGUE - '11 DEC 1980'

Formats

• IMPREC498 - 2xCDs

  0793447549811

Details

On December 11, 1980 Eliane Radigue performed live on KPFA. Her full performance is included here, remastered, on two compact discs. Upon hearing these performances for the first time in many years Radigue declared them to be the best versions she'd ever heard. Included are full in-studio performances of Chry-ptus and the world premiere of parts one and three of Tryptych. 

Tracks

1-1 Chry-Ptus
2-1 Triptych I
2-2 Triptych II
2-3 Triptych III

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Audio & Video

ELIANE RADIGUE - 'TRANSAMOREM - TRANSMORTEM'

Formats

• IMPREC337 - CD

  794475337289

Details

Transamorem - Transmortem was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, Transamorem - Transmortem was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way. In their original form, Eliane Radigue's works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc. During this period Eliane Radigue's compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90s, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the Song of Milarepa LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP). For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70s to the 90s.

Tracks

1. Transamorem - Transmortem

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