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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.

‘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.


"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".

FORMAT INFORMATION

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.

SSM

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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