GLENN BRANCA - 'LESSON NO: 1'

Formats

• SV039 - 12"

  850051035229

Details

***Repress on limited edition clear vinyl. Liner notes by Weasel Walter. After cutting his teeth in the late ’70s no wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveiled Branca’s visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC’s downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans. The title track is easily Branca’s most accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. “Dissonance” is the A-side’s polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.

Tracks

1. Lesson No. 1 for Electric Guitar
2. Dissonance

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DERIK & THE DISASTERS - 'DERIK & THE DISASTERS'

Formats

• DAMGOOD658LP-Y - LP (COLOURED)

  5020422065819

• DAMGOOD658LP-P - LP (COLOURED)

  5020422065840

• DAMGOOD658CD - CD

  5020422065826

Details

**AVAILABLE ON YELLOW OR PINK COLOURED VINYL**“When I was a teenager, Charlie Harper was my hero,” admits Del Greening, guitarist from notorious Brighton punks Peter and the Test Tube Babies. “I saw him on Top of the Pops snarling through ‘Stranglehold,’ like a man trying to start a riot on his own, and that was it. I was in. Not long after, I was crushed against the front barrier at Crawley Leisure Centre, watching the UK Subs, half suffocated, probably deaf for three days and loving every second of it. “I met Charlie a few times over the years,” continues Del. “Always seemed like a decent chap. Then he started turning up at Peter and the Test Tube Babies gigs, not just casually, either. Every time I looked up, there he was, front row, arms folded, watching my hands like a mechanic inspecting a suspicious engine noise. Slightly unnerving, if I’m honest. I kept thinking, what does he want? Should I be playing better? Afterwards, he’d come over. “Love your guitar playing. We should do a project together…” And so the seed was sown for a beautiful new punk rock partnership. Charlie, as established, is a long-time admirer of Del’s guitar playing and is also based in Brighton. With Del no longer touring with the Test Tubes and Charlie doing ‘slightly’ less gigs with the Subs, they both had time to start something new and fresh. And fresh it certainly was. With no rehearsals, no pre-production and some skeletal song ideas, Del and Charlie, alongside Vicky Smith from the Ramonas on bass and Marley Perez (Charlie's grandson) on drums, they headed to Brighton Road recording studios and got to work in October 2025. “We set up, and Charlie suggested we just start jamming until something happens,” laughs Del. “I fucking hate jamming, I find it pointless. So, I voiced my opinion. “What's the point of just endlessly jamming for hours in a studio that we're paying for? It's not as if a hit is just going to suddenly pop up from nowhere.” “That's how I wrote ‘Stranglehold”’ Charlie snapped back. Fair point! “He also mentioned that the Subs' classic track ‘Warhead’ had also emerged from a jam but had been discarded and disliked by ex-guitarist Nicky Garrett and ex-bassist Paul Slack and had been thrown in the bin, which he retrieved; “the song outlived them both.” Charlie laughed. Was that our first argument? I’m not sure. I knew there weren’t gonna be many. “We’d finally got everything plugged in and ready to record, guitars humming with feedback, everyone poised to go, then Charlie would suddenly start telling a story. Ten minutes later, he’d forgotten who the story was about, where it happened, or why he’d started telling it in the first place. By the end, even Charlie looked confused! He then suggested a couple of chords, A and C, and after going around in circles for 20 minutes, nothing seemed to be happening. That's when I got out my latest song, ‘Deadlines’. I had typed out the chord sheets, arrangement and lyrics, and I distributed them around the studio floor for everyone to see. We tried it, and it sounded fantastic. We then did another one of Charlie's ‘Cyber War’, and the original jam produced ‘Divide’, then I threw in another riff, ‘Lost’, which I’d based around a brass riff idea that I’d written on my son’s Casio keyboard he had used for his school music lessons. Not a bad result, four songs in one six-hour session. Third of an album, maybe?” With ‘Deadlines’, ‘Divide’, ‘Cyber War’, and ‘Lost’ all written in the first six-hour session. Somehow, against all the odds, Charlie’s completely chaotic method was working. With most of Marley’s drums recorded and him now away on tour, the sessions moved to (engineer) Ali Gavin’s tiny back-garden studio in Aulburn Village in Mid Sussex. “The routine quickly settled in,” explains Del. “Ali engineered. I layered guitars and vocals. Charlie sat behind us, throwing in ideas, stories, lyrics, or complete confusion, depending on the hour. Somehow, out of all that chaos, the album slowly began to take shape.” However, a brief period of ill health for Charlie led to the Disasters working on some songs without him. “The three of us ended up recording a couple of new tracks, ‘Scars’ and ‘The Disasters’. Vicky played bass while Ali engineered, then jumped behind the drums while I handled the guitars. We sent the rough tracks over to Charlie. He loved them. By the final sessions, the album had become something none of us had expected. Not really a Subs record and not really mine or a Charlie solo record. Something completely different.” “What I wanted on this album,” Charlie said, “Was that thing you do at the end of the Test Tubes set. Peter’s already gone for a beer, but you’re still out there, stretching the guitar out, and the crowd are hanging on every note. “That’s what I wanted, and that's what you gave me.” From chaos and confusion comes Derik & The Disasters. Fourteen songs that tap into both Charlie and Del’s musical legacies whilst creating a sound that is unique and vibrant, with lyrics that don’t shy away from tackling the many issues facing the world today. This is punk rock in 2026. Play Loud.

Tracks

Tracklist: 1 Divide 2 Lost 3 Clickbait 4 New Palestine 5 Used and Abused 6 Deadlines 7 Parasite 8 The Disasters 9 L.G.B.T. 10 The Takeover 11 Squirrel 12 Scars 13 Cyber War 14 Strait of Hormuz

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OSEES - 'LIVE IN LOS ANGELES'

Formats

• DG012X - 2xLP (COLOURED)

  769152438832

• DG012 - 2xLPs

  769152438818

• DG012CD - CD

  769152438825

Details

**AVAILABLE ON LTD ULTRA CLEAR VINYL / 300 COPIES ONLY** We had agreed to do a 6 show residency at the Teragram in Los Angeles in 2025. Tried to mix it up for the kiddos so I brought on the big guns…BRIGID DAWSON. And boom goes the dynamite! The missing key component to all of this middle era Garage Punk junk. Culled from the last 3 shows here are the creme de la creme of the tunes. Some long bloated fliers and some short sweet friers. We had such a good time that this is the version of the band that will be touring this year 6 piece OSEES Greasy We will also be adding some newer material and surprise crypt-crackers to keep it up to snuff CHEERS NO EARS JPD/DG/OSEES JOHN DWYER VOCALS GUITAR SYNTH BRIGID DAWSON VOCALS & PERCUSSION TOM DOLAS GUITAR KEYS TIM HELLMAN BASS PAUL QUATTRONE DRUMS DAN RINCON DRUMS RECORDED LIVE AT THE TERAGRAM BALLROOM IN LOS ANGELES LIVE SOUND BY JOEY OAXACA & JEREMY KATZ MIXED AT STU STU STUDIO BY JPD MASTERED BY JJ GOLDEN COVER STILL BY DELANEY SCHENKER BACK COVER, LABELS AND INSERT ART BY ALEXIS CROS LAYOUT BY ETHAN MILLER ASCAP ARTIFICIAL HEAD PUBLISHING

Tracks

1. CRUSHED GRASS 2. THE DREAM 3. POISON FINGER 4. IT KILLED MOM 5. MEAT STEP 6. RAINBOW 7. RUBY GO HOME 8. GREASE 2 9. MINTOAUR 10. I WAS 11. DENIED 12. ENCRYPTED BOUNCE 13. HUMANS BE SWAYED 14. MARIA 15. BLOCK OF ICE

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CHROME CHASM - 'INTERPRETER'

Formats

• SC68 - LP

  769152439129

Details

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night. Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time. Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork). Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’ Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

Tracks

1. The Star 2. Gabriella 3. Animus / Bats

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ZOMBINA & THE SKELETONES - 'DEATH VALLEY HIGH'

Formats

• NXN049LPX - LP

  0632556093450

Details

**ON TRANSLUCENT RED VINYL W/ BONUS REMIX CD & BOOKLET INSERT** Zombina And The Skeletones self-released second album from 2006 is a campy, schlocky concept album detailing a sci-fi highschool massacre. It’s Carrie goes to Nukem High. It’s John Hughes as guest director on Tales from the Crypt. It’s 13 short n’ snappy pop-rockers full of a million crazy ideas, recorded on zero budget in a little house in Liverpool in the early 2000’s… AND IT'S BACK! Let 9x9 Records be your chaperone to the bloodiest school reunion of the century as “Death Valley High” returns Halloween 2026, on vinyl for the very first time! Of all the records in their 28 years, this may actually be ZATS' most deserving of the tag “cult classic” , having seemingly taken on a life of it’s own independently of the rest of the catalogue, with new generations of fans following the breadcrumb trail within the lyrics and the accompanying collaged artwork as they theorize their own interpretations of the enigmatic storyline hidden within Death Valley High’s 13 tracks. This new edition from 9x9 Records features an expanded version of the artwork, bringing even more clues to light, plus “What Happened To Baby Janie?” a bonus CD containing a never before heard early draft of the album with some interesting differences.

Tracks

A1 -The Kids Are All Dead A2 - Lost Boys A3 - At The Megaplex A4 - My TV A5 -Villain B6 - Guess What? (I Love You) B7 - Prom Night B8 - Your Girlfriend?s Head B9 - The Fragile Heart B10 - The Waiting B11 - Janie?s Got A Dissolvo Ray B12 - End Of The World B13 - Bubblegum Machine

Press

'A hyperactive rollercoaster ride fizzes, bubbles, soars and poses its way through 32 minutes of electro-surf joy!' - Drowned In Sound

?Schlocky horror fun, fake blood and pop-punk beats...it?s the kind of band you?d slice off heads to be in. ? ? Bizarre Magazine

Audio & Video

THE FATES - 'FURIA'

Formats

• E102 - LP

  850051035298

Details

Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution. It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It all draws on sources that are so familiar, yet turns them upside down in a celebratory fashion. Is it freak folk? Pagan punk? Pastoral drone? It is all of that and so much more. It is the sound of a woman, and an artist, truly finding her voice, and it is both magical and compelling.

Tracks

1. Ceaseless Effort 2. Bridget Of Ireland (For My Mother) 3. Sheila (Inspired by Sheila C) 4. She Beats In My Heart 5. No Romance 6. Strength (I) Umbra Solis 7. Holy Hymn 8. Who Am I? 9. Ritual (Poem) 10. Strength (II) Umbra Solis

Press

Essential for fans of The Fall. RIYL: The Wicker Man soundtrack, Nico, Espers, Devendra Banhart, the New Eves

Audio & Video

CHUCK ROTH - 'TEXTURE SONGS'

Formats

• PAL098CD - CD

  840526513710

• PAL098LP - LP

  840526513536

Details

"'I have this Pavlovian response where I just expel songs,” Chuck Roth explains. For the New York-based guitarist, the LP format is less a definitive product than a snapshot of his daily life and growing artistic practice. With last year’s watergh0st songs, Roth was dedicated to 'mapping every voice, seeing where they come together and fall apart.' He’s more interested in materiality on his new album, the expressive and intimate Texture Songs. Across its seven tracks, he excavates the particularities of his Stratocaster, be it the guitar’s characteristic pickups or capacity for volume swelling. Traces of some Texture Songs have existed for at least five years, evolving with every live performance, but their presentation on this album represents Roth in the now. At times that means technique. 'Gun' is built on a curiosity for hitting harmonics on the bottom string, letting them ring out, while 'Siren' is similarly defined by sustained buzzing sounds while string crossing. 'I get really into the shape of each note,' he says. You can sense that curiosity in the album’s raw presentation, where every song invites a full feeling of every plucked note, every slide across the fretboard. On the shapeshifting 'Highway,' it sounds like you’re there in the room with him, hearing his breath, sensing the shape of every chord, tracing each split-second change in attacking the guitar. Roth has felt most comfortable talking about his work with painters and visual artists, favoring descriptions via color and brightness over any technical language. It relates to his belief that music can be totally self-sufficient in its meaning-making. While Roth sings on these tracks, he explains that 'it’s actually the music that describes the emotions I’ve had.' Lyrics, then, are meant to 'decorate the border of a song’s emotion without dictating it.' He likens the voice to a drummer’s specific kick pattern: it’s a conduit for counterpoint, conjuring greater specificity in the feelings evoked. Take 'Hometown Hero,' which is rooted in observations made on daily walks to work. In seeing his city change, he constructed the song as a 'violent document,' something heard in its damaged guitar chords and turbulent vocal melodies. 'Siren' is the inevitable aftermath: the apathy and detachment that arrives as a means of survival. While relatively quiet, its harmonics’ smooth tones mask an underlying anxiety. Roth describes the beautifully complex 'Love Song' as a track made of code words, capturing his relationship with his partner in a language only they know. 'I'm trying to resist understanding my work,' he tells me. He and his music are in a constant feedback loop in this way, expanding and transforming in glorious, unknowable fashion." — Joshua Minsoo Kim

Tracks

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Audio & Video

JERRY GARCIA BAND - 'GARCIALIVE VOL 23: AUGUST 14TH, 1993 SHORELINE AMPHITHEATRE'

Formats

• JGFRR1071 - 2xCDs

  880882708528

Details

GarciaLive Volume 23: August 14th, 1993 Shoreline Amphitheatre captures Jerry Garcia "at his peak, playing both thunder and lightning, and singing beautifully” alongside Gloria Jones, Jacklyn LaBranch, John Kahn, David Kemper, and Melvin Seals. The setlist showcases Jerry’s boundless musical curiosity, spanning the genres of R&B with “Money Honey,” rock ’n’ roll in “You Never Can Tell,” reggae in Jimmy Cliff’s “Struggling Man,” and the tender singer-songwriting of Bob Dylan’s “Forever Young.”

Tracks

Tracklist:
Disc One // Set One:
1. How Sweet It Is (To Be Loved by You)
2. Forever Young
3. Struggling Man
4. Run for the Roses
5. Money Honey
6. Like a Road Leading Home
7. My Sisters and Brothers
8. Lay Down Sally

Disc Two // Set Two:
1. Shining Star
2. You Never Can Tell (C?est La Vie)
3. Ain?t No Bread in the Breadbox
4. Wonderful World
5. The Maker
6. Don?t Let Go
7. That Lucky Old Sun
8. Midnight Moonlight

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TEARJERKER - 'GHOSTS'

Formats

• LRR086 - LP (COLOURED)

  5060462855032

• LRR086CD - CD

  4573413690619

Details

**VERY LIMITED COPIES ON TRANSPARENT BLUE COLOURED VINYL** “Built from the foundations of their self-titled debut album, “Ghosts” is a labour of love and heartbreak; an album shaped by reflection, loss and everything left unsaid. Bigger, louder, and more emotionally charged, this record pushes Tearjerker’s sound further than ever before — raw, honest, and straight from the heart.”

Tracks

01 Introvert 02 Imposter Syndrome 03 Ghosts 04 Siren 05 Not the One 06 Out of Touch 07 If 08 Untamed 09 Humble Pie 10 Jezebel 11 Grand Delusions 12 Pictures of You

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