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Henry's Funeral Shoe was formed in 2008 in South Wales, inspired and influenced by many of the albums that singer/guitarist Aled Clifford had looted from his father's vinyl collection when he was growing up. The Who, CCR, Peter Green, Robert Johnson and the Beatles were favourites, and Aled quickly became a gifted guitar player, aided and taught by Ned Edwards, a long time collaborator of Van Morrison. Aled soon played with various bands, eventually doing some recording sessions for producer Ian Grimble, and even recording at the legendary Abbey Road studios. His younger brother Brennig started playing drums at nine. At fifteen he joined a local band, learning his trade by performing covers of The Clash and Thin Lizzy before moving on to writing original material. The dexterous brothers have finally joined forces to create some of the loudest soulful rock n'roll to come out of the UK in a long time. Their debut "Everything's For Sale" is a fun and raucous mix of heavy rock and psychedelic blues which reminds us that the UK can produce more than great pop music, but also some amazing rock'n'roll.

The band’s fountainhead Parker Griggs, along with partners-in-crime Anthony Meier (bass) and Paul Marrone (drums), have cultivated yet another blues-rock masterpiece that crossbreeds late ‘60s psych-rock and face-melting guitar histrionics with the foundation-crumbling rhythms from early ‘70s hard-rock, and even includes a couple of harrowing tracks built from the bedrock of rural Delta blues. But more than merely digging up fossils from rock’s revered past, Griggs & Co. manage to translate the myths of rock-n-roll’s golden age into modern day truths for a new, younger generation.

500 copies on, pure vinyl first pressing (clear). Amid the current industry of cool, Mount Carmel’s lack of gimmick is a welcome anachronism. The trio’s third album “Get Pure” is full of swagger, packed with great songs and inspired performances. This is true rock music like you haven’t heard in years. Crank it up!

“Like the blues, traditional rock ‘n’ roll remains a great musical building block and form. It’ll never be out of date. Mount Carmel shows their devotion to the crunchy riff on “Back on It”, a smokin’ tune from their upcoming album, Get Pure” Pop Matters.

“Plenty of bands drink from the well of tribute, allowing their vision to plateau in service of authenticity or Good Time Charlie-ism, because it’s fun and familiar, and for some quite easy to achieve. Mount Carmel is that rare band that takes an existing concept – here, British-influenced blues-based rock circa 1966-69, the times that bore Hendrix, Led Zeppelin, Fleetwood Mac, Cream, the Steve Miller Band, and above all, Free – and steers it so that they become a continuation of that earlier dialogue” Roadburn.

‘Thirst’ is the debut album from Somerset based Waves Of Fury. Having already made an excellent early impression with taster single ‘Businessman’s Guide To Witchcraft’, earning them a Guardian New Band Of The Day & Q Track Of The Day in the process, this 10 track debut long player sees Carter Sharp (vocals), Bim Williams (horns), Fil Ward (guitars/vocals), James Macphee (drums) and Jamie Bird (pianos / vocals) take up the rhythm & blues blueprint and filter it through a 40+ year historical path that encompasses everything from Motown & Stax to The Stooges, Sex Pistols, Spiritualized & The Mary Chain.

It’s a sonic blast of an album, and a welcome breath of fresh air. Prior to the album being recorded at PJ Harvey’s Bristol studio, Waves Of Fury spent several weeks touring the southern states of America.

Andre Williams began a very prolific and creative phase of his life when he finally got off booze and drugs. His intake of various substances was excessive, unrelenting, and dated back to at least the 1960’s, when he was working extensively with Ike Turner. Reflecting on his very first drug-and-alcohol-free studio session in 2009, Andre says, “It was traumatic. It was like someone shot me out in space and I woke up on Pluto!” Andre Williams’ new album “Life” was recorded this past winter in Detroit, the city where his musical career first began in the 1950’s. Andre’s new songs are his latest experiments and explorations outside of the garage-soul bag that he’s often associated with. Produced by Matthew Smith, the album’s sonic palette recalls the work of Norman Whitfield’s Motown productions, 70’s Rolling Stones, Can, Bill Withers, Serge Gainsbourg, as well as Andre’s own doo-wop and funk history. “Life” finds Andre in a pretty upbeat mood, whether he’s singing about people being rude and impatient (“But’n”), or laying down a political commentary (“Blame it on Obama”), reciting a children’s bedtime story (“Ty the Fly”), singing a simple love song (“Stuck in the Middle”, “It’s Only You That I Love”), or conjuring a nocturnal fetish-sex-groove (“Heels”). The album also includes his own definitive rocking version of the standard he wrote and produced for the Five Du-Tones in 1963, “Shake a Tail Feather”. It’s a reminder that Andre Williams is one of the original guys who invented rock n’ roll.

Radio Moscow

The Great Escape Of Leslie Magnafuzz

Radio Moscow’s popularity is growing rapidly, as more and more fans tune in to their unique brand of American psychedelic blues rock. Radio Moscow’s music is rooted in the power trio sound of the late sixties and early seventies, and they have been compared to Blue Cheer, Hendrix, Cream, Ten Years After, and similar bands from the golden age of rock’n’roll. The band is the brain child of guitarist/drummer/singer/songwriter Parker Griggs, with Zach Anderson on bass, and Cory Berry handling the drums on stage. They released their first “self-titled” album on Alive Naturalsound records in 2007, produced by Dan Auerbach of the Black Keys. The record received rave reviews and praise worldwide, and in 2009 their second album, the hard-grooving stoner rock album “Brain Cycles” was released, also on Alive Naturalsound.

This, their 3rd album, is their most psychedelic and powerful work to date. It was recorded, mixed, and mastered analog at the legendary Prairie Sun recording in Northern California. In order to achieve the true natural sound they were looking for, the band used vintage Supro, Gibson, and Alamo amps, as well as other off-beat gems, while Parker Griggs sometimes ran his vocals through a tape echo, a Leslie cabinet or an old Gibson reverb tank. The Great Escape of Leslie Magnafuzz is an amazing album that updates an old-school style with craft, passion and plenty of psychedelics.

The Bloody Hollies

Yours Until The Bitter End

“Yours Until the Bitter End ” is The Bloody Hollies follow up to the highly praised “Who to Trust, Who to Kill, Who to Love” which was released in 2007 on Alive Naturalsound. Many who are familiar with the band’s sound know them by their trademark murder-themed blues/rock anthems that remind listeners of the 60’s and 70’s golden age of rock & roll. The new album still embraces the dark side of raw garage punk, but comes armed with a more eclectic array of songwriting and musicianship. But don’t let the touches of organ, violin, and xylophone fool you, the band’s hybrid of blues and rock & roll continue to shine more impressively than ever.

The Bloody Hollies recorded in San Diego, but enlisted the expertise of Jim Diamond in Detroit, a familiar friend of the band’s that helped bring the sound of this record to its full potential. “Yours Until the Bitter End” is a work that reflects a lengthy career that fully embraces The Bloody Hollies’ vast influences while at the same time maintaining the band’s unique sound of explosive, over-driven mayhem balanced with intelligently thought-out songwriting. What is most impressive about The Bloody Hollies, however, is the diversity of their strengths, ranging from 70’s classic rock, Americana blues, to an even power-pop songwriting style. Wesley Doyle’s voice is stronger than ever and continues to shine, complimenting Joseph Horgen’s unique slide blues guitar style. The rhythm section of Matthew Bennett (drums) and Erik Noorgard (bass guitar) are as solid as ever and work together perfectly on this record which will go down as The Bloody Hollies’ most impressive to date.

Iggy Pop & James Williamson

Kill City (Remastered)

    Restored, re-mixed, and re-mastered under the supervision of both Iggy Pop and James Williamson!
    'A lot of people have borrowed it's ideas, it's one of the very first independent LP's I know of' - Iggy Pop.
    'With this re-release we are not only re-united in our musical endeavors but in our appreciation of this album, its re-mix and its importance to us as artists'. - James Williamson.

    "Kill City" helped bridge Iggy Pop's musical career from the drug-fueled and blazing rock of the Stooges ("Raw Power", etc.) to his artier (but just as influential and passionate) David Bowie-produced solo albums ("The Idiot" and "Lust For Life"). After the Stooges broke up for good in 1974, Iggy (who was depressed, suicidal, and addicted to hard drugs) checked himself into a mental hospital to straighten out. When he emerged sober, Iggy hooked up with ex-Stooges guitarist James Williamson and began collaborating on demos. The duo tried to land a record contract on the strength of the compositions, but failed to do so.

    Although it's not as jaw-dropping as the releases listed above, "Kill City" certainly has its moments. And surprisingly, the songs sound more like laid-back Stones rockers than what the duo was known for at the time (which was barely containable near-heavy metal). There are a couple of Stooges leftovers ("Johanna" and "I Got Nothin") which lack the bite of the originals, but make up for it in Iggy's heartfelt vocals. The title track opens the album, with the lyrics painting a picture of a desperate and dangerous metropolis, and musically is the closest to the classic Stooges sound.


    CD Info: The CD comes in a digipack with a 24 page booklet.

    Former Alive Records artist Tyson Vogel, of Two Gallants, has completed a new solo project for the label, titled "Devotionals". The Two Gallants were formed in San Francisco in 2002, and their sound was a blend of rough folk/indie rock. Alive released their acclaimed debut "The Throes" in 2004, and a worldwide tour followed (US, Europe, Japan), along with two subsequent albums on Saddle Creek, "What The Toll Tells" in 2006, and "Two Gallants" in 2007, and an acoustic EP, "Scenery of Farewell".

    The Devotionals music is based around Tyson's guitar compositions, with Anton Patzner (Judgment Day, Bright Eyes) invigorating the musical space with his violin mastery, and they are joined by various guests and collaborators. Devotionals is only a moniker set to represent the thing we all do upon our awakening. It is a statement of existence, and the rumination on the 'how to' of the everyday breathe. The band is for the most part Anton Patzner(Judgment Day), Jeff Blair, and Tyson Vogel (Two Gallants). Based around the guitar compositions of the latter, Anton invigorates the space with his inspired form of violin mastery and intuition, Jeff percussive sensitivity and heart. Giving a nod of reverence to what has come before in forms of Rachmaninov to John Fahey, to the unknown echos of the street musician, these songs, in form mostly instrumental, represent only the beat of the heart, and the ache to understand. The recording is entirely analog.

    "Seemingly Solid Reality" is the tenth full length studio LP from Detroit rock n' roll experimentalists Outrageous Cherry. After the critically acclaimed glam/psych miasma of 2009's "Universal Malcontents", and subsequent tours in Europe and the USA, O.C. returned to their analog cave somewhere within the Detroit city limits to record Matthew
    Smith's latest batch of tunes. Keeping the recording approach somewhat primitive, the group wanted to capture the energy and excitement of their recent live performances, but in a semi-controllable studio environment.

    The album was recorded on a reel-to-reel 8-track in the kitchen of a house in the same neighborhood, (and with the same architectural dimensions) as the old Motown studio. Throughout "Seemingly Solid Reality", sweet melodies and harmonies soar over the gnashing of vicious, urban Motor City guitar workouts. Motown-fueled bass and drums throb hypnotically. The lyrics weave a tapestry of hallucinatory 21st century tension over all of this, punctuated by occasional blasts of music concrete synthesizer. This time, the mood is closer to the anarchistic tendencies of the Plastic Ono Band than the Beatlesque feel of more recent Outrageous Cherry records.

    When he's not fronting Outrageous Cherry, Matt Smith is often producing and sometimes playing onstage with numerous other artists. Recently he's worked with Rodriguez, Andre Williams, and Scott Morgan (ex-Rationals, Sonic's Rendezvous Band). He also produced the last two albums by late Detroit soul legend Nathaniel Mayer. Guitarist Larry Ray has played with the Spike Drivers and the Ivories. Drummer Samantha Linn has played with Little Claw and her group the Arch Mystics (also featuring Larry Ray). Bassist Sean Ellwood also plays with Don Bolles' new group the Fancy Space People. Outrageous Cherry recently got a lot of love from The New Pornographers who released a EP of Outrageous Cherry covers on Matador records titled "Togetherness - The New Pornographers play Outrageous Cherry".


    Ltd LP Info: 1st vinyl pressing on red vinyl limited to 500 copies.

    Formed in 1975 by guitarist Jack Lee, bassist Peter Case, and drummer Paul Collins, the Nerves are one of the most influential garage/punk pop outfits to come out of the mid-70s LA scene, and certainly one of the least documented... until now. Mostly remembered for their classic "Hanging On The Telephone", a Jack Lee composition which has been covered over the years by a myriad of artists from Blondie to L7 to Cat Power, the Nerves were above all a high energy rock'n'roll band with all three members composing and singing. Playing fast, ear-catching garage pop songs, sometimes wearing matching suits, the trio had more than a bit of the stripped down street energy of the Los Angeles's early punk movement. This collection, approved for the first time ever by the three band members, features the band's 1976 EP, as well as previously unreleased studio and live recordings, and selected material from their post Nerves projects. All remastered and complete with notes and photos.


    Break Your Arm For Evolution

    SSM likes to flirt. This follow-up to their acclaimed 2006 self-titled debut finds Szymanski (voice, keyboards), Shettler (drums, programming), and Morris (voice, guitar) further expanding their sonic horizons and fearlessly morphing genres. Recorded in record time straight to seven-track tape, the Detroit post-punk trio once again defies conventional wisdom and blazes its own trail. "Break Your Arm for Evolution" is not merely a title but an earnest philosophy: the psychedelic kraut rock 'n' roll of "Regenerate Your Face" transforms itself into the synth pop of "Let's Make A Baby", which metamorphoses into the indie alternative dance "Start Dancing" and quickly burst into the punk rock "Emotional Tourist", all the while challenging the traditional conventions of pop songwriting. The result leaves one with little time to catch their breath but ultimately flirts with genius.

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