EZRA FEINBERG - 'SOFT POWER'

Formats

• TU006LP - LP

  4251804182645

Details

*REPRESS ALERT / BLACK BIO VINYL* Ezra Feinberg’s third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee. Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums ‘Recumbent Speech’ (2020) and ‘Pentimento and Others’ (2018) The compassionate, tender-hearted opener ‘Future Sand’ deftly interweaves flutes and steady arpeggios. The Reichian pulse beneath the soaring melody is played not on the customary analogue sequencer, but on finger-picked acoustic guitar, one of the lodestars of Feinberg’s compositional approach. ‘Soft Power’, the buoyant and mesmeric title track that follows builds over a rich bed of guitars and a reverb-y Rhodes melody reminiscent of a Strata East LP, its narrative arc bountiful in energy, optimism and future dreaming, a perfect accompaniment to long days of summertide. “The most unexpected, unpredictable, and spontaneous moments in life live in the realm of softness”, quotes Feinberg. ‘Pose Beams’ blends the chamber-jazz approach of Penguin Café Orchestra with a balletic kosmische, climaxing with a galvanising crescendo and “free improv” section performed by fellow New Yorkers - Robbie Lee (piano) and Jefre Cantu-Ledesma, whose granular and modular synths sprinkle particle dust over the expressive drumming of John Thayer. ‘Flutter Intensity’ evokes in part the music of Cluster as played on acoustic guitars, which ping-pong across the stereo field, providing the canvas for a plaintive vibraphone line reminiscent of TNT-era Tortoise. Instruments move in tandem, but also drift and glide allowing them the space to hang in the air, the variegated rhythms, textures, and tones all laced into the fabric of the album. At the centrefold of the albums 7-tracks is ‘The Big Clock’, a tryptic piece that evolves from pairs of stretched varying tones, creating fields of technicolour over an unabashed motorik beat, serving to offset the pastoral and ambient registers heard elsewhere. It features the first of two appearances from David Moore (Bing & Ruth) who plays lilting piano lines on the come-down. ‘There Was Somebody There’ returns to the album’s earlier wistfulness, a hard stereo-panned soundworld with lightly strummed, interlocking acoustic guitars combining to pigment a washy, painterly scene. David Moore and Jefre Cantu-Ledesma provide reviving synths, the underlying pulse that seems to simulate a life cycle; another day on Earth. The album closes with the reflective ‘Get Some Rest’ featuring Mary Lattimore, whose harp pluckings set a dreamlike tone against bare organic acoustics and flourishing flutes to create a sense of realignment and restoration. Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra’s own mantra but also one of power giving - a colourful catharsis translated into music. Feinberg’s music always speaks to the listener, but Soft Power, in whispering, speaks loudest.

Tracks

A1. Future Sand / A2. Soft Power / A3. Pose Beams / A4. Flutter Intensity / B1. The Big Clock / B2. There Was Somebody There / B3. Get Some Rest

Press

'Album of the year - DJ Deb Grant BBC6 Music' | Gently propulsive gems that evoke the kosmische sounds of Michael Rother, Brian Eno at his most sublime - Aquarium Drunkard
| #38 CRACK MAGAZINE'S AOTY 2024

Audio & Video

THE EASTERN DARK - 'JOHNNY AND DEE DEE / JULIE IS A JUNKIE'

Formats

• GUWDM014 - 7"

  5061041821936

• GUWDM014BL - 7"

  5061041822308

• GUWDM014R - 7" RED

  5061041822315

• GUWDM014G - 7" GREEN

  5061041822322

Details

LAST REMAINING RSD YELLOW COPIES.  REPRESSES NOW AVAILABLE OF RED, GREEN AND BLACK VERSIONS To commemorate the 40th Anniversary of the passing of James Darroch, singer/songwriter/guitarist for Sydney's incredible The Eastern Dark, Grown Up Wrong! is thrilled to announce a long-awaited reissue of the band's classic single "Julie Is A Junkie/Johnny and Dee Dee". Heavily influenced by the Ramones - the band opened their first live show with 'Blitzkrieg Bop' and from then on opened with a new Ramones song every time they played, working through the band's complete catalogue in chronological order - as all manner of hyper-melodic and high energy rock. The Eastern Dark were a classic trio powered by former Celibate Rifles bassplayer James Darroch's blazing guitar and anchored by former Lime Spiders backing vocalist Bill Gibson's hard driving and melodic bass playing (and supreme backing vocals) and Geoff Milne's untouchable beat keeping. They set Sydney's Radio Birdman influenced scene alight in 1984 and quickly built an international following on the back of their classic single. Sadly, just hours after completing what would become their next release - the mini-LP "Long Live the New Flesh" - the band's life, and that of 26-year old James Darroch, was brutally ended in a road accident whilst the band was on its way to Melbourne. On the back of the tragedy, the band's music lived on and it's global impact was reflected in the influence it bore on numerous bands, from Boston's the Lemoneads to Tokyo's Teengenenete, and obviously a succession of Australian bands from the Hard-Ons through to God and the Meanies and beyond. After years of searching, surviving members Bill Gibson and Geoff Milne recently found the single's original multi-track tapes, and for the new release, the original recordings have been both remixed and remastered for maximum impact under their supervision.

Tracks

Side A: Johnny And Dee Dee
Side B: Julie Is A Junkie

Press

Audio & Video

TYONDAI BRAXTON - 'SPLAYED WERKS'

Formats

• ERATP184LP - 2xLPs

  3700551787005

• ERATP184CD - CD

  3700551786992

Details

**ON BLACK BIO DOUBLE VINYL** Even at first blush, Splayed Wrks, Tyondai Braxton’s new album, his first full-length release since the recording of his 2022 symphonic work, Telekinesis, reveals itself as unlike what came before and marks the beginning of a new chapter with UK label Erased Tapes. First off, there’s a lot more music here, 70+ minutes of pure electronics and sound design. Plus, it’s divided in a way that’s out-of-step with the longer forms the 47 year-old composer/producer has previously imagined into being. Of the album’s 15 tracks, more than two-thirds are sub-five minutes. It may be a perfect album for 2026, a time when the sonic landscape continues to fervently embrace increasingly radical hybrids, at once club soundsystem-ready, art-installation-leaning, and music-school-mediated. But also, importantly, intuitive and hand-crafted. It’s no stretch to say that Tyondai had a hand in building this world. His two decades-plus-long career has seen him co-found electronic prog-punk heroes Battles (which he’s described as “a laboratory that masqueraded as a band”); performing as a duo with Philip Glass; write numerous electro-acoustic and chamber commissions for celebrated American new-music ensembles such as Bang on a Can All-Stars, Alarm Will Sound, Third Coast Percussion, Brooklyn Rider, and Yarn/Wire; having his “part installation, part band” HIVE project appear at The Guggenheim Museum, Sydney Opera House, and a 3-night residency at Big Ears Festival; and deliver a series of technologically ambitious, at times orchestral works for lauded labels of electronic, experimental and future-music, Warp and Nonesuch Records. As a portfolio, Splayed Werks hews to the menu of a dance music meets minimalist electronic composition, a throughline that stretches from IDM absurdists like Aphex Twin and Autechre, to contemporary immersives like Mica Levi and Laurel Halo. (And, to a lesser degree, to Braxton’s comrades and occasional collaborators, Kieran “Four Tet” Hebden, Jeffrey Cantu-Ledesma and Ben Vida.) It’s a world in which the multitude of dirty rhythms strays far outside club-land’s big rooms—though one can imagine expert mixing hands and a world-class soundsystem transforming the dubwise lo-fi linearity of “Oslo” into a psychedelic wonder, while the interplay between the bass-synth and the constantly deviating shuffle on “UnFS” may qualify as a leftfield banger. And its composed beatless spaces have little to do with current ambient proclivities—the at-once aggressive and ecstatic, panning miniature, “Realistic Water” sounds like power Laraaji.

Tracks

1. Bell Smear 2. Multiplay 3. Dia 4. Vali 5. UnFS 6. Salt Point 7. Oslo 8. Realistic Water 9. Multiplay II 10. Phonolydian 11. Piiano 12. 4 Zones 13. Nimble FX 14. Clouds Of 15. K Space

Press

Audio & Video

THE CRAMPS - 'GRAVEST GRAVY'

Formats

• VEN678X - LP (COLOURED)

  769152437408

• VEN678 - LP

  769152437217

• VEN678CD - CD

  769152437224

Details

**COLOURED AND BLACK VINYL HAS SOLD OUT. CD STILL AVAILABLE** With tracks selected and mixed in the late 1980s, Gravest Gravy was designated by Lux and Ivy for release years ago, but for reasons lost to time, remained shelved until now. Completely rippin’ versions of classic early Cramps tracks, two of which feature Alex Chilton on organ. Cut from the analog source tapes, and mastered expertly in Nashville. Stay Sick! Turn Blue! In October 1977, the Cramps, who were at that time, Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums, ventured into Ardent Studios with the extraordinarily talented musician and producer, Alex Chilton. These sessions were responsible for the first two Vengeance Records releases, both permanently disfiguring the music world in 1978. Surfin’ Bird / The Way I Walk Human Fly / Domino In 1979, young British degenerates were treated to a five track 12” EP by the Cramps called Gravest Hits, which featured all four tracks released in the USA, along with another from the October 1977 sessions, a great channeling of Ricky Nelson’s hit Lonesome Town. From there, the band released their first LP, Songs The Lord Taught Us, again working with Alex Chilton, and went onward, releasing records and touring all over until the sad passing of Lux in 2009. What Cramps fans might not know, was at Ardent, the band had planned to record their song T.V. Set to be their first A side, along with another track or tracks. Alex told them that he liked to have a band play every song they knew and the best of the batch would be committed to vinyl. This was fantastic advice, and luckily for us, that’s what the Cramps did. This is how Lonesome Town found its way to Gravest Hits. But, there was much more to the story. In the late 1980s, Lux and Ivy endeavored to release more recordings from the October 1977 sessions. It was to be titled Gravest Gravy. It was a record for the fans, a journey back to Memphis, back to the first Cramps records, that, try as it might, the world has been unable to heal from. Lux and Ivy mixed several tracks between June 14 and 30, 1989 at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, Gravest Gravy was shelved. In 2026, we sought to change that. It was apparent that this record absolutely needed to be with the fans. A team, still severely cramped from initial contact with the band, began to form and got to work. Greetings. Henry Rollins here. I am beyond stoked to announce the formation of The Cramps Inc. that will restart the Cramps’ label Vengeance Records, create official merchandise, and venture into the vaults to unleash unheard recordings of this amazing band. The Cramps Inc. is the artist formerly known as Poison Ivy Rorschach, Larry Hardy, owner and operator of In The Red Records, and Jimmy Maslon, a former Rollin’ Rock recording artist, film producer, and owner of the Herschel Gordon Lewis, and Doris Wishman film catalogs. Both have deep ties to Lux and Ivy, forged over decades. Ivy is the major beneficiary. Larry and Jimmy are handling all the logistics. They are perfect for this. Ian MacKaye and I, operating as RAM Prod. (Rollins and MacKaye), are working on behalf of The Cramps Inc., coming up with release ideas, handling tape maintenance, editing, mixing, mastering and lacquer cutting responsibilities. We are aligned with Inner Ear Studios in Arlington, VA and Infrasonic Sound in Nashville, TN. Many Cramps records and items, such as t-shirts you see on the Internet—are bootlegs. The Cramps Inc. is striving to right that wrong and recently made a deal with the merchandising company Easy Partners. Cool designs for official merch are well underway. The tracks on Gravest Gravy were contained on seven 1/4 inch reels. Six were generated by Lux and Ivy, one by Alex. The tapes were carefully transferred by Brian Kehew. He was happy to report that all seven reels had withstood the test of time, and the tracks were in pristine condition. Many of the songs had multiple mixes. We had to determine which ones were the keepers. Over several nights of concentrated listening, and copious notetaking, I was able to get an understanding of the changes made from mix to mix. Within a few nights, I was able to determine that the last mix of each song was the keeper. Not only did the tracks sound to be at their fullest potential, it made sense. I sent the mixes and my notes to Ian MacKaye, whose ears I trust more than anyone I know. I asked him to take his time, go through the tracks and form an opinion of my selections. Days later, he reported back that he agreed with me on all of them. He then volunteered to do some EQ and level adjustment on two of the tracks with Don Zientara at Inner Ear Studios, in Arlington, Virginia. Days later, all the tracks were at Infrasonic Sound, an excellent studio in Nashville, Tennessee for mastering under the careful watch of engineer Pete Lyman. I sat for hours and listened as Pete coaxed the frequencies to be at their best. The results were two six song sides of the Cramps, extracted from a 1977 amber block, de-fossilized and ready to be inflicted upon the ears of those who would rather Stay Sick and Turn Blue than hope for sunny weather. Gravest Gravy is an absolute treasure. You get a performance of Hungry by Paul Revere and the Raiders, released in 1966, which found itself in the band’s early set lists, but soon dropped out. To make it even more interesting, Alex Chilton jumps in on organ. Another early Cramps cover, Problem Child, written by Sam Phillips, is on the record. The band used to do an absolutely rippin’ version of the 1958 Jimmy Lloyd track, Rocket In My Pocket at some of their early shows. There’s a great version of it on Gravest Gravy. Also really cool are the songs that found official release on the band’s second album, Psychedelic Jungle, with Kid Congo Powers taking over the spot vacated by Bryan. These tracks would be Jungle Hop (also with Alex Chilton on organ) by Kip Tyler, released in 1958, The Natives Are Restless (with different lyrics), Can’t Find My Mind and Rockin’ Bones released in 1959 by the Blond Bomber himself, Ronnie Dawson. The approach to these versions is much different than on Psychedelic, and it’s never a bad thing to have more Bryan Gregory to listen to. We were able to locate the exact photo of Stephanie’s that Lux and Ivy had envisioned for the cover. The back cover photo was taken by David Godlis at CBGB, and is easily one of the coolest Cramps photos ever. We brought in the very talented Jason Willis to make a video for T.V. Set. It could not have turned out better. (Link Below) What you have in Gravest Gravy, is sheer brilliance committed to tape by a band that was plugged in directly to the Rock ‘n Roll mainline, produced by a visionary maniac named Alex Chilton. This new chapter for the band is a combined effort of people whose lives were changed by the music of the Cramps. As I’ve said many times, I first saw the Cramps on April 20, 1979 in a small bar in Washington, DC, and I’ve never recovered. Ian was standing next to me. We still talk about that show. The opportunity to bring this music to fellow Cramps fans is beyond a thrill. It is an absolute honor that we feel so fortunate to be a part of “When I first saw the Cramps at CBGB, I was overjoyed — entertained and inspired! And there was a girl in the band! It all felt so real: a fresh take on a regional American sound, updated in a way that was fun, smart, and exciting. I was screaming!” - Debbie Harry “The first time I saw the Cramps in 1977 at CBGB I was agog at the amazing characters and unearthly sound I was witnessing. The place was packed, although they had only one 45 out, and the crowd was going absolutely nuts. I was entranced. Funny, sexy, and dangerous, I was not sure if the concert would end in an orgy or a riot. Either would do. Imagine my surprise being invited into the band a few years later. Sometimes I still find it hard to believe it ever happened. But it did! And it was a real humdinger!” - Kid Congo Powers “The Cramps created an occult sound world that you could escape into, full of rockabilly voodoo guitar damage from Poison Ivy Rorschach, with bug eyed psychotic wailings and swampsnake utterances from Lux Interior, driven into a backwoods frenzy by the pounding of Nick Knox’s zombie death drums and Bryan Gregory’s barbed wire feral guitar scrapings. It only took me one hit of witnessing them play live in Glasgow aged 17 in 1979 opening for The Police and I’ve been hooked ever since. Stay Sick / Turn Blue.” - Bobby Gillespie

Tracks

01. T.V. Set 02. Weekend On Mars 03. Twist & Shout 04. Jungle Hop 05. Can?t Hardly Stand It 06. Hungry 07. The Natives Are Restless 08. Domino 09. Can?t Find My Mind 10. Rockin? Bones 11. Problem Child 12. Rocket In My Pocket

Press

Audio & Video

LIAM HAYES - 'DANCING BACKWARDS'

Formats

• WV03 - LP

  5061041822001

• WV03CD - CD

  5061041822025

Details

Liam Hayes is an acclaimed American musical artist known for his songwriting and uncompromising approach to making records. He started cassette multitracking while a preteen and made his first real studio recording at twenty one. This started an obsession that ultimately led to his releasing a 7” single (Found A Little Baby/Three Quarters Blind Eyes) on a small US indie label. Those tracks garnered the attention of the UK music press, and on the strength of those songs a career was launched. The follow up was highly anticipated by critics and listeners alike, but rather than playing to expectations he delivered a highly personal album of solo piano/vocal songs (More You Becomes You). Not one to repeat himself, Hayes started off the millennium by serving up the extravagant pop/soul opus (Fed). Both records are now considered to be masterpieces.  Hayes’ songs are recognised for their exquisite melodies, poetic lyrics and distinctive vocals. He’s released seven albums, two singles and a soundtrack, and applies his craftsmanship to a variety of genres from orchestrated pop to stripped down rock. Comparisons to Brian Wilson, Laura Nyro, Carole King, Harry Nilsson, Badfinger (and even Prince) are numerous. His music takes the best of radio and stellar classic pop records of the 60’s and 70’s and brings it into the present. Along with making records Hayes has appeared on screen performing his music in High Fidelity (directed by Stephen Frears) and A Glimpse Inside the Mind of Charles Swan III(directed by Roman Coppola) which he also wrote the soundtrack for. In this, their first production for Hayes, are (executive producer) Terrence Washington and (multi-instrumentalist/producer/arranger) Vincent Carlo with additional contributions from Terrence’s father, legendary arranger TOM TOM 2084 (Chi-Lites, Phil Collins, Plush). His latest album, Dancing Backwards, sees Liam stepping through the shadows in his life and into a new musical day.

Tracks

1. We Need You 2. 8 Degrees 3. C-Thru 4. Dancing Backwards 5. What Is A Man 6. All In The Shadows 7. Interlude 8. Good Year 9. Bright Penny 10. Alone All Day 11. Furnace Bird 12. Final Night 13. White Bike

Press

Audio & Video

OLD & IN THE WAY - 'LIVE AT SONOMA STATE - 11/4/73'

Formats

• JGFRR1065-02 - 2xLP (COLOURED)

  880882705718

• JGFRR1065-03 - CD

  880882705824

Details

**ON LTD HONEYDEW CREAM COLOURED VINYL** LP Description: Live at Sonoma State - 11/4/73 presents one of the last live performances by the legendary bluegrass supergroup Old & In The Way. Featuring a line-up of Jerry Garcia, David Grisman, Peter Rowan, John Kahn and Vassar Clements, the group is in exceptionally fine form singing and playing 19 classic tunes in their inimitable style. Also included are two songs with special guest “Ramblin’” Jack Elliott. The performances are presented as a 2xLP set pressed to Honeydew Cream colored vinyl and housed in gatefold packaging featuring artwork designed by D. Norsen and Taylor W. Rushing. CD Description: Live at Sonoma State - 11/4/73 presents one of the last live performances by the legendary bluegrass supergroup Old & In The Way. Featuring a line-up of Jerry Garcia, David Grisman, Peter Rowan, John Kahn and Vassar Clements, the group is in exceptionally fine form singing and playing 19 classic tunes in their inimitable style. Also included are two songs with special guest “Ramblin’” Jack Elliott. The performances are presented on CD for the very first time, featuring artwork designed by D. Norsen and Taylor W. Rushing.

Tracks

01 ? Going to the Races 02 ? Catfish John 03 ? Eating Out of Your Hand 04 ? Lonesome Fiddle Blues 05 ? Land of the Navajo 06 ? Old & in the Way Breakdown 07 ? Panama Red 08 ? Pig in a Pen 09 ? Fanny Hill 10 ? The Hobo Song 11 ? Wild Horses 12 ? White Dove 13 ? Drifting Too Far from the Shore 14 ? Uncle Pen 15 ? That High Lonesome Sound 16 ? Tramp on the Street* 17 ? Waiting for a Train* 18 ? Midnight Moonlight 19 ? Orange Blossom Special

Press

Audio & Video

SWAMI JOHN REIS - 'NAVAJO WHITE'

Formats

• SWA171 - LP (COLOURED)

  769152438917

Details

**ON OFF-WHITE COLOURED VINYL** - Fifth solo album from Rocket From The Crypt, Drive Like Jehu, Sultans, Hot Snakes, PLOSIVS, Night Marchers kingpin. - Features members of Hot Snakes, Delta 72, Drive Like Jehu, Jejune, Pinback, PLOSIVS and more. Navajo White is a color. It’s the color of an off white, interior, house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. The soiled walls of evacuated apartments was his canvas. Here he would cover up the residue of life’s stains with a fresh coat of the beige, human white-out that is Navajo White. Amongst the vacated, drywall chambers littered with the scant detritus of a fleeing existence is where this record began. It started as road noise, a repetitious hum of a fictional dialogue. A languageless, argument of noise that took shape as a disconnect between two people. They are both barricaded by an impenetrable surface tension that harbors the distortion of their prolonged isolation from the world beyond their self imposed exile. For all that can’t be solved or thrown away here’s a thick coat of Navajo White to cover our tracks as if to say “we were never here and this never happened.” This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. Taking musical cues from later period Wipers, the more low key Saints songs, early recordings of The Church as well as The Damned on their Black Album, Navajo White pits sentiment vs the unsentimental. Recorded by John Reis at City of Refuge, San Diego with additional recording and mixing by Ben Moore at Singing Serpent and mastered by Dave Gardner at DSG Mastering. This record is dedicated to house painters everywhere.

Tracks

1. It?s Not Fair 2. On Our Way 3. Future Moods 4. From Here On Out 5. Directions 6. It?s All For Sale 7. Lies Don?t Lie 8. You Made It Gross

Press

Audio & Video

I WILL DIE IN THIS JEAN JACKET - 'HANG FROM A CLOUD'

Formats

• SWA172 - LP (COLOURED)

  769152439013

Details

**ON YELLOW COLOURED VINYL** - Solo project from Jim Blaha of the Blind Shake - No-fi DIY that conjures The Go Betweens, The Clean, Jesus And The Mary Chain, New Order, Guided By Voices and Flip Your Wig-era Hüsker Dü I Will Die In This Jean Jacket is a testimony of how the lines between commitment and attachments are often blurred. It is the new gloom-punk project from Jim Blaha (The Blind Shake, Green/Blue). Blaha has collaborated with luminaries including Michael Yonkers, John Reis, Shannon Selberg, Dale Flattum and Zak Sally and has released records on Goner, Castle Face, Dirtnap, Hozac, Feel It, Slovenly and Swami. On Hang From A Cloud he concludes over three years of artistic solitude by heading back into the basement to create in an even deeper state of isolation. Formed in Minneapolis this past December, the late-night sessions gradually revealed a concept: capturing the feeling he had from the mixtapes a friend used to make during their teenage skateboarding years—where late ’70s post punk sat comfortably alongside the more exposed underground sounds of the ’80s and ’90s and every song seemed to come from the same hazy, imaginary city somewhere far, far away. Recording onto a 1/4” tape machine and mixing everything down to the all important cassette, Blaha emerged with an indiffussable sound. Hang From A Cloud is a long-lost pirate radio transmission from an alternate 1980s universe. The album is entirely analog by design. Guitars, vocals, drums, drum machines and bass all captured on cobbled together equipment in a cinder block bunker on a frigid midwest, winter night. There is a one dimensional resonance with a sheen of distortion and rust that is betrayed by the direct and simplistic beauty of the songwriting. Hang From A Cloud is a no-fi, DIY treasure that transports the listener to a parallel dimension where The Go Betweens, The Clean, Jesus And The Mary Chain, New Order, Guided By Voices and Flip Your Wig-era Hüsker Dü are cherished and celebrated the same.

Tracks

Tracklist: 1. Some New Day 2. D.O.A. 3. The Nothing Way 4. So Nice 5. Above Me 6. Always Home 7. Too Bright 8. Miracles 9. We Were Wild 10. Careless

Press

Audio & Video

THE ODYSSEY CULT - 'VOL: 3'

Formats

• SC64X - LP (COLOURED)

  769152437903

• SC64 - LP

  769152437910

Details

**AVAILABLE ON LTD HALF AND HALF MILKY CLEAR & BLOOD RED VINYL** “The Odyssey Cult Volume 3 ignites visceral fires of fuzz, pumped-up motorik, shimmering noise and hazy vocals, just in time to send up the last intoxicating smoke of summer. As for those of us still piecing our skulls back together after the ecstatic ’90s-pummel of Ethan Miller’s previous project (the zonked supergroup of Orcutt Shelley Miller), we forgive ourselves for not anticipating this, a meltdown-psych re-fusion of Ethan and Ben Flashman, two of the principals in Comets On Fire, the premier purveyors of early-aughts American guitar mayhem. “Featuring Ethan Miller (Howlin Rain, Heron Oblivion) on guitar, loops, vocals, Ben Flashman (Comets On Fire) on bass, Steve Shelley (Sonic Youth) on drums, Anthony Taibi (Carlton Melton/White Manna) on keys, Zoh Amba on sax and Brigid Dawson (OSEES), Paula Frazer (Tarnation), Inna Showalter (Magic Fig) on vocals. “Miller and company layer psychedelic murk of the highest order into a neon rock monolith, its components spanning coasts and generations of musicians. Depending what angle you look at it, Volume 3 glitters with facets reflecting all corners of sonic psychedelia, fusing the best of all post-hippy/punk eras, complete with earworms that sound equally great by the pool, on headphones, or blasting in the sled cruising down the 5, the 10, or whatever freeway of your dreams. Whether or not you’ve heard Orcutt Shelley Miller, Comets On Fire, Tarnation, or the OSEES, this LP stands out like a life buoy (or, occasionally, a shark fin) in a sea of wax.” - Tom Carter

Tracks

1. The Yeti?s Eyes 2. Sun Damage 3. On Neon Tigers 4. Our First Trip 5. Leviathan 6. Back To The Cave 7. The Night Archer 8. Ammenglade

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Audio & Video

EAT LIGHTS BECOME LIGHTS - 'ROTTERDAM IS MY TOKYO'

Formats

• FC66 - BOOK W/ CD

  5061041822544

Details

**INSTOCK AND SHIPPING** This one aligns nicely in a number of ways. One of label head Dom’s final full length releases after all these years, ties in with what might just be the final one from the mighty Eat Lights Become Lights also. This is one staggeringly glorious, epic opus with which to return to the fray for Eat Lights…. Right from the start of the album’s planning stages, main man Neil Branquinho anticipated this record was to be as key on the eye as the ear. We had long since planned an accompanying book of his own photographs to be paired with the music within its packaging. However, as the record came together it soon became apparent that its length (nigh on 70 minutes) was impossible to fit onto vinyl so -hellbent on not wanting to edit down- we opted for CD. So what you have here is all nine pieces in their full entirety, free of edits and all the more wonderful for it, accompanied by the promised, equally wonderful book of photographs taken by Neil as the album was being created. Quite where I begin to describe this one… Easily the best record of his career, full of his trademark motorik, krautrock leanings certainly, but that’s just a springboard to some gigantic tangent which he then veers off. Krautrock Rave? Kosmische floor fillers? Heavy Motorik Disco? Teutonic Techno? Whatever, put simply, this is just epic and makes for quite the aural journey. That you have photographs to gaze at as you listen makes this one quite the assault on all the senses! To these ears, this could easily be presented as a box set of 9 12” singles- every track is not only a banger but more than worthy as A sides in their own rights. Following recent massively successful support slots for The Orb and Pye Corner Audio in his hometown Newcastle, if this does prove to be Neil’s final record, to go out on a bang doesn’t begin to cover it…. An edition of 250 A4 packages, be quick!

Tracks

01 The Last Of The Old Time Dancers 02 Super Surf 03 Loved Up 04 Electric:Electric 05 Slow Light Filter 06 Invocation 07 Vertical 08 Electric Lullaby 09 I Told The Stars About You

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Audio & Video

TOO MANY DAVES - 'WEEKEND AT DAVE'S'

Formats

• LRR085 - LP (COLOURED)

  5060462855025

Details

INSTOCK AND SHIPPING **ON TRANSPARENT PURPLE VINYL** Weekend at Dave’s, the debut album from Too Many Daves, has been out of print for thirteen years. Guess what? It’s back in press for a limited run with A.D.D. Records and here in the UK, yours truly Little Rocket records. This hidden Tamp, Punk Rock gem, was initially released in 2010 to a surprisingly great reception from fans and critics. Prior to Weekend the band released numerous singles from 2006-2009, and a six song follow up ep, to Weekend, in 2011 titled “Dawn of The Dave’s”. That drunken whimsical weekend turned into a fifteen-year vacation for the Dave’s. The world has evolved since then while the Dave’s have been in a holding pattern of arrested development. Enduring many life tests in the form of felonies, arrests, prison time, flooding, hurricanes, sobriety, health issues, and a revolving turnstile of bass players. The pandemic was seen as a revelation. Sitting around on the couch doing bong loads become passé without being able to turn that stoner logic into anthems for the disenfranchised. They went back to the lab in 2024, initially tracking new songs for a future release. A process that lasted into spring of 2026. After many delays, distractions, trepidation, and tweaks, the Dave’s will reluctantly return with the follow up to “Weekend” titled “Return of The Living Dave’s” in the fall of 2026. The impending return of the Dave’s to this dystopian landscape is on the way. In order to survive this apocalypse, you will need to break out your Too Many Dave’s handbook and take a refresher course on the classic first full length “Weekend at Dave’s”. “Any intelligent fool can make things bigger and more complex... It takes a touch of genius-and a lot of courage to move in the opposite direction." - Albert Einstein

Tracks

1. Dudes Like Us 2. Restraining Order 3. Just Fucking Kill Me 4. Couch Me If You Can 5. Curb Stomp Your Enthusiasm 6. The Ballad of Simple Jack 7. Dudes Room 8. Duderonomy 9. Snortin Smurfs by the Dashboard 10. He Who Dies with the Most Fucking Toys Still Fucking Dies 11. Cop Killer 12. This Shit Sucks 13. Hey, Fuck You Man

Press

Audio & Video

AMONG LEGENDS - 'LOSE MY GRIP'

Formats

• LRR082 - LP (COLOURED)

  5060462854851

Details

INSTOCK AND SHIPPING **ON PINK MARBLE COLOURED VINYL** Ontario’s Among Legends have been playing their own brand of energetic punk rock for nearly a decade. Formed in 2016, the band built its reputation through a run of EPs before releasing their debut full-length album Take Good Care in 2022. Since its release, the band has played consistently throughout Canada and the United States, with energetic shows and a firm belief that playing music should be a good time. After carving some time out of a busy show schedule to record, Among Legends returns with their second full-length album “Lose My Grip”, via Little Rocket Records. The new record finds the band more confident in their melodic punk rock sound, leaning into more aggressive tendencies with tighter hooks as the band reflects on both personal and external challenges. This year, Among Legends are ready to take Lose My Grip on the road, playing as many dive bars, basements, DIY spaces, concert halls and backyards as possible. “Lose My Grip” comes in a gorgeous Pink Marble vinyl, shrink-wrapped and lyric sheet, offering twelve blistering songs.

Tracks

1. H-A-C-K 2. Sound the Alarm 3. Go On 4. Back Again 5. Hollow 6. Familiar Fictions 7. Floating Here for Years 8. Open Wide 9. Band Dudes Fuck Off 10. Oversaturated 11. What?s it Gonna Be 12. The Last Time

Press

Audio & Video

ALEX DUPREE - 'TALKING TO THE DOG'

Formats

• ST73 - LP

  769152438658

Details

“Hank Williams once said that writing a song is just talking to the dog. That little piece of absurdist wisdom has become a title and guiding principle for Alex Dupree’s latest LP. “What does it mean? Hank was likely just promoting his then hit single “Move It On Over” to a radio interviewer. But Alex’s answers veer quickly into the mystical and visionary. He is a poet of rare composure and grace, and maybe for the first time in his 20+ year career, he’s found the band, the chords, and the arrangements to inject an almost inconceivable richness of color into his musical ideas. “The result is a legitimate mid-career masterpiece that announces Alex as a talent capable of equaling the brilliance of Cass McCombs, Bill Callahan, Neko Case, Ryan Davis, Joanna Newsom, Will Oldham, and other leaders of modern song. “You can throw a rock at Talking to the Dog and anywhere it lands you will find something inspired and kinetic. “Voyager Blues” channels the blurry but assured ecstasy of Jim Sullivan’s U.F.O.. “New Meaning” has a fucked up, hearty wistfulness to it that lives somewhere between the tender, booze-soaked domesticity of Music from Big Pink and the wiry, cosmic range of Gene Clark’s No Other. And “Zodiac” rides the hallucinatory astral plane that David Crosby blissfully floated on throughout If I Could Only Remember My Name. “You might think I’m crazy to compare a relatively unknown forty-something year old songwriter’s output to some of the greatest guitar-led songwriter records in collective memory. I’m crazy and I’m right. And fortunately, Alex has the talent and sheer audacity to back me up. “For all of its high-concept lyricism, nothing about Talking to the Dog feels heavy or ponderous. Quite the contrary. It sounds like a record that was made fast. Like a band in the room, learning the music together and putting it down in one or two takes. The energy is spontaneous and the music is alive to its own ideas. If songwriting is talking to the dog, then Alex is proving that he speaks dog fluently. All that’s left for you to do is to take the leap of faith and believe. “Believe in Dog.” — Matt Kivel

Tracks

1. New Meaning 2. I Could?ve Been Anyone 3. Stevie?s Fever 4. Zodiac 5. I Can See Her in Your Eyes 6. You?re a Dog, Don?t Talk to Me 7. Room for One More 8. Voyager Blues 9. On Your Own Again 10. Marseille

Press

For fans of Jim Sullivan, Gene Clark, and David Crosby?s If I Could Only Remember My Name

Audio & Video