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So Long To Farewell

    The twelfth studio record by Refrigerator expands the line-up to five with the addition of Mark Givens from WCKR SPGT on second guitar. Along for the ride are guest appearances by legendary singer Claudia Lennear (vocals on the first single “Broken Glass Shore”), Shrimper Records stalwart Franklin Bruno, and the additional hand of Scott Solter, who mixed the record, which rests in a gorgeous sleeve with artwork by Jean Smith. The lovely live bleed of a band playing together in one room— guitars spilling onto the drum tracks, cymbals biting into the feedback from the amps—captures the live sound of Refrigerator as never before on record as caught by engineer Steve Folta.

    There are two physical versions of the record, one on black 160 gram vinyl, as well as a deluxe edition, available on green and white swirled vinyl that couples a bonus CD with six tracks to a fifty page Bamboo Dart Press chapbook that features drawings, short stories, photographs, lyrics and essays by the band, in an edition of 150 copies.


    1. Broken Glass Shore
    2. Drink Ourselves To Death
    3. David Jove The Acid King
    4. Tulsa
    5. Time Well Wasted
    6. Another Ghost Town
    7. Corvette Winter
    8. All The People I Lied To Are Dead Now
    9. Greyhound Sundown
    10. Part Time Lover Part II
    11. From Eternity To 4AM
    12. Masks In The Morning
    13. I Could Be Anything
    14. Jealousy Is Gone


    Temple City

      Refrigerator and Shrimper celebrate 25 years together with the band’s first album in four years. Temple City is also the first record of theirs to feature electric guitar, feedback squalls and electric bass in over a decade, after the all-acoustic Bottles of Make Up and their last album, Dangerous, a stillborn recording of demos. More recently, vocalist Allen Callaci recorded with Adam Lipman (2013’s Glacial), Dennis Callaci with Simon Joyner (2013’s New Secrets, helmed by Jarvis Taveniere of Woods) and the band released a couple extremely limited and now out-of-print cassette-only releases. Temple City was recorded in full just prior to harrowing health issues for Allen that ultimately led to a heart transplant. The band went back into the studio with longtime engineer Steve Folta after Callaci’s full recovery and rerecorded a number of songs as well as a few new ones to complete the 17 tracks which comprise Temple City.


      1. Your Hometown
      2. As Advertised Please Don't Touch
      3. The Real Thing
      4. This Woman Here
      5. Pocket Thousandaire
      6. Cul De Sac
      7. Friendloverwhatever
      8. Secret Knock
      9. Ozu
      10. Thinking Man's Fool
      11. Rest Of The Lonesome
      12. Run Down Rings
      13. Percy Sledge
      14. As I Was Before
      15. No Fun
      16. Sophia Loren
      17. Smile Kid

      Coming seven years after the release of the previous full-length record, Every Eleven Seconds (5 Rue Christine), and two since the their split LP with Woods (Shrimper), Canyons Cars and Crows is a proper resurrection for Amps for Christ. Recorded at Equation Road in the beautiful Pomona Valley, the record upholds the band’s traditions of mixing folk with hardcore and noise with music—known as folkcore and musnik, respectively— and covers familiar sonic territories from ragas and Basho folk to dirges and jigs. The songs, dire but hopeful, examine man’s relationship to nature.

      Henry Barnes, the force behind Amps for Christ, was a founding member of Man Is the Bastard. The group’s first release was the cassette-only album The Plains of Alluvial, released by Shrimper in 1997; since then there have been many full-length and split albums on a number of labels. Outside of Amps for Christ, Barnes has collaborated recently with Man Is the Bastard’s Eric Wood on a Bastard Noise / Brutal Truth split LP on Relapse Records, a split with Bizarre Uproar, and a pair of splits with Japanese artists Outermost and Government Alpha. Look for live shows across one or two oceans following the release of Canyons Cars and Crows.


      1. Sailor's Searching
      2. Miss You Mother
      3. Earth Is Spinning
      4. Chieftains I
      5. Hills Of Padua
      6. Chieftains II
      7. Barely Breathe
      8. Everyone Drives
      9. All Messed Up
      10. Scottish Country Dance

      Spare Parts is the first solo album from singer / songwriter / multi-instrumentalist John Davis since the release of Blue Mountains in 1997. In contrast to his collaborative work with The Folk Implosion, Davis’s solo work in the ’90s was about as solo as solo gets. He played all the instruments and did all of the cover art for records like Pure Night and Leave Home, as well as for assorted singles and compilation tracks. Having been there and done that, Davis charts a new course with Spare Parts, right down to the cover art, which was done by Boston-area painter and photographer Walter Crump.

      No less than eight musicians and three engineers lend their talents to the ten tracks and 65+ minutes of this double-LP. (Be warned: the songs are long.) Appearing most frequently are drummer and percussionist Jose Medeles (Breeders, 1939 Ensemble, Portland Ore’s Revival Drum Shop) and cellist and violin player Megan Siebe (Anniversaire, Simon Joyner and The Ghosts). Siebe also appears as a member of a trio of backing vocalists that includes Laura Burhenn (Mynabirds, Bright Eyes, The Postal Service) and Sarah Gleason. Simon Joyner produced the strings and backing vocals, and contributes backing vocals himself to the track “Blood Feud.” Mike Friedman plays lap steel on “You Won’t Cry” and “Southwest,” and Chris Deden plays drums on “Upon a Train.” The record was mixed by Brandon Eggleston (Mountain Goats, Swans, Scout Niblet, tUnE-yArDs, Modest Mouse).

      Spare Parts mines an acoustic singer-songwriter vein while avoiding a stylistic rut by veering back and forth between artistic formulas in a way that recalls Folk Implosion’s Dare to Be Surprised. Influences include the textural percussion work of Han Bennik and Andrew Cyrille, the electronic moonscapes of Stockhausen, the drawn-out ballardry of Leonard Cohen’s “Famous Blue Raincoat” and the spooky strings and reclusion of Scott Walker. Cue it up—Shrimper promises you won’t have to wait fifteen years for the followup this time.


      1. Spin
      2. Silhouette
      3. Southwest
      4. You Won't Cry
      5. Blood Feud
      6. Masoch
      7. Upon A Train
      8. Shine Upon Me
      9. Like The Moon
      10. The Wrong Tree
      11. What We Are & What We Seem

      Glacial is a stunning record written by Adam Lipman and sung by Allen Callaci (lead singer Refrigerator), recorded over the course of two days in Claremont by Steve Folta, mostly as a trio made up of Callaci, Lipman on guitar (and some vocals) and Jason Martin on keyboard and piano. The album is a cohesive work by two artists whose sole prior collaboration consists of vocal overdubs Callaci had done for the forthcoming Lipman full-length record (due out in early 2014 on Shrimper). Lipman, upon hearing the finished back-up vocals, had joked that he was going to force Callaci to record his entire songbook. Those sessions, which comprise the follow-up to Lipman’s From Your Mouth to God’s Ears, were the last in which Callaci took part before suffering from serious health issues that ultimately led to a successful heart transplant.

      After recovering, it made sense that Glacial is Callaci’s first new recording. The record was cut live with Lipman serving as both a producer of sorts as well as player on these versions of his songs with minor overdubs. Augmenting the trio is Aaron Alcala, who contributes guitar on a number of tracks, as well as Callaci’s brother on backup vocals, whose subtle and stately readings offer variances to Lipman’s original versions. A quiet, slow-paced record, Glacial rewards the attuned ear with each listen.


      1. Smiling Wildly
      2. Drifting Blue
      3. Absolution & Burial
      4. Vulnerable Sleep
      5. A Calming Wake
      6. Remember Me
      7. Primal Comraderie
      8. Feathered Palm Trees



        A strange document not originally intended to be released in its current form, "Dangerous" began life as a set of demos for an electric Refrigerator record. Bassist Daniel Brodo's fall from a ladder at the art gallery he runs with his wife resulted in two broken wrists and a serious concussion, and left the recordings stillborn. The band had moved on by the time Brodo had made a full recovery, and was itching to record a new batch of songs (the best of these to come out later in 2011 as the next album). However, the initial recordings were too good to leave unreleased, and have become "Dangerous", the first new Refrigerator record in four years.

        All material was done live without overdubs; most of them are first takes. "Dangerous" features a song written by Franklin Bruno (who guests on two different tracks) of The Extra Lens / Nothing Painted Blue, and two more by drummer / second guitarist Chris Jones.

        Herman Düne

        They Go The Woods

          Long overdue reissue, Herman Düne are comprised of two Swedish brothers and a man named Omé on the drums. Last year they released "Turn Out The Light", their critically acclaimed debut on the European Prohibited label. Mojo magazine observed, 'Herman Dune's idiosyncratic vistas capture the imagination, recalling the cut-and-paste lyricism of Julian Cope, the deliciously woozy chug of the Velvet Underground and the metronomic repetition of Can.' The band has toured the citrus-deprived, pestilence-ridden land mass of Europe, stopping off for appearances on John Peel's radio show and otherwise making quite a name for themselves abroad. The trio currently resides in Paris, France. The brothers Herman Düne - David-Ivar and André - cite as important influences their family home in Dalarna, Sweden (with its silence, space, and trees), the German writer Franz Jung, and the music of VU, Sebadoh and other usual suspects.


          Bottles Of Make Up

            Eighth full-length release from longtime Shrimper vets, features guest musician Franklin Bruno (Nothing Painted Blue, Mountain Goats) on piano. While the quartet's previous record, "Upstairs In Your Room", squealed and squalled through two-minute rock workouts in the style of the group's early years, their newest has no electric instrumentation at all. Cohesive both musically and thematically, bottles of make up is far from lo-fi / no-fi affectation.

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