THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

ITEIAD Sessions is a collection of live and alternate versions of songs from The Japanese Houseís acclaimed second album In the End It Always Does alongside an intimate cover of ABBAís Super Trouper. Previously only available on streaming, the EP arrives on limited colour vinyl for the first time for this yearís Record Store Day.

Another amazing Dirty Blends edition with three tracks of heavy jak beat and OG Chicago warehouse flavours.

The A side kicks off with Kincaid presenting a dark and menacing composition played and created with blood and sweat behind the vintage music boxes to come with this 12 minute cranium splitter - "Circuit Collapse".

Cliff Solomon honors the timeless work of originators Boyd Jarvis & Timmy Regisford with an '85 flavoured exercise of proto-house entitled "Battle Cry". With drum machines you'd associate more with the boogie genre, plus expert keyboard sections and sound effects, this retrograded house track will definitely devastate today's dancefloor leaving people scratching their heads as to its origin.

The Jak and Lex Lathan collaborate on "The Call (On The Edge)". recorded at Nation HQ and perhaps the most twisted and discordant offering out of the three. Warped vox, detuned synths and deranged licks smothering a straight up jak beat rhythm. Seriously wild stuff for the more adventurous DJ and dancer - TIP! 

STAFF COMMENTS

Matt says: Dirty Blends can do no wrong in my book at the moment. There's no one out there daring to take on the dark passion of jak beat with such authority. With each release they seem to get closer to the spirit of Ron Hardy... if you don't know - get to know.

TRACK LISTING

A1. William Kincaid - Circuit Collapse
B1. Cliff Solomon- Battle Cry
B2. The Jak & Lex Lathan - The Call (On The Edge)

Dirty Blends hit us with their 10th release. I don't think a label has epitomized the OG spirit of Trax, the Muzic Box, and those early tape experiments by Adonis, Ron Hardy et al so well. Proper primitive, primordial warehouse tackle that gets right inside your body!

The A-side comes from new label member Grizzly Knuckles with "Caviar" - an edit of Jackmaster Dick's Revenge's (real alias) 1986 release, "Sensuous Woman Goes Disco" - but utilizing a much less x-rated vocal snippet, revolving around food rather than explicit sexual material. 

The B-side comes from label head The Jak who recreats the drum rhythms of Jesse Saunders with his KPR, taking us back to the mosh pits of The Reactor or Medusa with another stripped back exercise in jak beat. 

Dirty Blends - strictly for the most outrageous nightclub weirdos! Recommended. 

STAFF COMMENTS

Matt says: The Dirty Blends jak beat enslaught continues in earnest with a double header from label stalwarts Grizzly Knuckles and The Jak. Chicago historians will recognize "From The Old Days Past", a clever tweak of Jackmaster Dick's make-you-blush booty track (also used quite recently by Paranoid London). This stuff is so powerful and carnal; almost has me tearing off my clothes ready to slam dance.

TRACK LISTING

A1. Grizzly Knuckles - Caviar Ensemble
B1. The Jak - From Old Days Past

More jak beat from the on-fire Dirty Blends crew. This one's mad as a box of frogs, recalling the crazed genius of Steve Poindextor and early Lil Louis madness. All three tracks revolve around slam dance repetition, primordial jack patterns and pure Chicago spirit. Not for the fainthearted - strictly for the freaks! Recommended and limited. 

STAFF COMMENTS

Matt says: There's simply nothing like the Dirty Blends cartel out there at the moment. Revisiting the embryonic spirit of Chicago house music, when it was literally just a drum machine and a sampler, they manage to capture a primitive energy that's more intoxicating than half the other shit out there made with tons more equipment! Essential stuff for fans of Ron Hardy, Jamal Moss, Trax Records, Steve Poindextor, Adonis, Lil Louis etc etc.

TRACK LISTING

A. The Falcon - Sound The Alarm
B1. Grizzly Knuckles - Mad Bell
B2. The Jak - Aftermath

Live recording of The 1975’s sold out ‘At Their Very Best’ performance from New York’s iconic Madison Square Garden, recorded on 7th November 2022 and now pressed on double orange vinyl.

Formed in Manchester in 2002, The 1975 have established themselves as one of the defining bands of their generation with their distinctive aesthetic, ardent fan base and unique sonic approach. Their latest offering Being Funny In A Foreign Language became their 5th consecutive UK No.1 album. The critically acclaimed band were crowned ‘Best Group’ at the BRIT Awards in 2017 & 2019, with their third album ‘A Brief Enquiry Into Online Relationships’ winning the ‘Mastercard British Album of the Year’ in 2019.

STAFF COMMENTS

Barry says: It's a document of one of the most legendary live performances from 1975's tour last year, and i've been assured it was a great tour too. Our Liam is a big fan. As for the record, it's ram-packed full of perfectly paced indie-pop drifters, all the 1975 classics. Lovely.

TRACK LISTING

Side A
1. The 1975
2. Looking For Somebody (To Love)
3. Happiness
4. Part Of The Band
5. Oh Caroline
6. I’m In Love With You
7. All I Need To Hear
Side B
8. Roadkill
9. Fallingforyou
10. I Like America & America Likes Me
11. About You
12. When We Are Together
Side C
1. If You’re Too Shy
2. TOOTIMETOOTIMETOOTIME
3. Me & You Together Song
4. It’s Not Living (If It’s Not With You)
5. Paris
6. Robbers
Side D
7. Somebody Else
8. I Always Wanna Die (Sometimes)
9. Love It If We Made It
10. The Sound
11. Sex
12. Give Yourself A Try

Today The Natvral (Kip Berman, former frontperson of The Pains of Being Pure at Heart) returns with his second solo album, Summer of No Light, due 1st September on Dirty Bingo Records. On his second album as The Natvral - a spirited, beautifully observed collection of rough and ready songcraft - the former Pains of Being Pure at Heart frontperson was eyeing the past while dealing with an inescapable present. In 2020, in the early stages of lockdown, Berman began writing songs that reflected on a world that had seemingly ended – while contending with the needs of his young family seeking solace in the familiar.

“After putting my children to bed, I spent many a late night in the basement with my guitar and let my mind wander to the places where I could no longer go,” he says. “Initially, a lot of the songs were about getting as far away from the reality of my moment as possible.” He drew parallels with another tumultuous summer. “The record’s title, Summer of No Light, is taken from the climate crisis of 1816,” he says. Often referred to as The Year Without a Summer, that year a massive volcanic eruption in Indonesia darkened much of the world’s sky. The resulting ash brought dramatic global cooling and widespread famine, hitting Western Europe especially hard. While he initially sought escape from the isolation in which he found himself, soon the solace of home and family life began to seep its way into the music “The routines of domesticity were often unwelcome, and always exhausting - but probably mentally helpful. I was isolated, but not alone.” Despite the many graveyard romps that populate the record, it’s the moments that celebrate home that gives this album its heart. Summer of No Light is an album that’s born of a precise moment, yet revels in anachronism. Collapsing time to make a little bit of sense of this one, Berman feels artistically rejuvenated, drawing on histories large and small to breathe new life and perspective on his own. “It was a time that is now almost unspeakable – not because the tragedy was too profound or in any way trivial – but because we were all there.” 

TRACK LISTING

1. Lucifer’s Glory
2. Carolina
3. Summer Of Hell
4. The Stillness
5. A Glass Of Laughter
6. Stephanie Don’t Live Here Anymore
7. Your Temperate Ways
8. Wait For Me
9. Wintergreen

The Japanese House has announced details of her second studio album In the End It Always Does. Featuring recent single ‘Boyhood’, much of the album lives in the contradictory: beginnings and endings, obsession and mundanity, falling in love and falling apart.

With the announcement comes new track ‘Sad to Breathe’, an upbeat sounding heartbreaker co-produced by TJH’s Amber Bain with The 1975’s George Daniel and Chloe Kraemer accompanied by a beautiful live alternate version of the track directed by Sheila Johansson which sees Amber and her extended live band strip the track back to its bare bones.

“I wrote Sad To Breathe some time ago, it’s one of the oldest songs on the record.” tells Amber. “It was very different back then; it’s gone from being solely electronic to what it is now, mostly live/ acoustic instrumentation. It’s about that desperate feeling when someone leaves you and the disbelief that they could. It’s funny you could have those kind of insane dramatic thoughts, that feel so real at the time, but can by some miracle look back in fondness to your entire life being ruined. It all circles back around.”

Four years after her widely celebrated debut Good at Falling, this album sees Bain lean even further into the pop realm–with help from Matty Healy and George Daniel from The 1975, Katie Gavin from MUNA and Bon Iver’s Justin Vernon among others. Bain credits Gavin especially with injecting her with creative energy and inspiration throughout.

The album also sees Bain work alongside producer and engineer Chloe Kraemer (Rex Orange County, Lava La Rue, Glass Animals), an experience she describes as “life changing” due to the unspoken, shared understanding between marginalised genders in a creative space.

“I’d never worked with a woman or queer person [in that way] before,” Bain says. “It’s nice to have someone who completely understands your standpoint and shared experience. Also, I say ‘she’ in every song... so it’s important that someone understands that.”

TRACK LISTING

SIDE A:
1. Spot Dog
2. Touching Yourself
3. Sad To Breathe
4. Over There
5. Morning Pages
6. Boyhood
SIDE B:
1. Indexical Reminder Of A Morning Well Spent
2. Friends
3. Sunshine Baby
4. Baby Goes Again
5. You Always Get What You Want
6. One For Sorrow, Two For Joni Jones

The 1975 return new album, ‘Being Funny In A Foreign Language’, via Dirty Hit.

The band’s fifth studio album was written by Matthew Healy & George Daniel and recorded at Real World Studios in Wiltshire, United Kingdom and Electric Lady Studios in New York.

Formed in Manchester in 2002, The 1975 have established themselves as one of the defining bands of their generation with their distinctive aesthetic, ardent fanbase and unique sonic approach.

The band’s previous album, 2020’s ‘Notes On A Conditional Form’, became their fourth consecutive No. 1 album in the UK. The band were named NME’s ‘Band of the Decade’ in 2020 after being crowned ‘Best Group’ at the BRIT Awards in both 2017 & 2019. Their third studio album, ‘A Brief Inquiry Into Online Relationships’, also won ‘Mastercard British Album of the Year’ at the 2019 ceremony. 

TRACK LISTING

1. The 1975
2. Happiness
3. Looking For Somebody (To Love)
4. Part Of The Band
5. Oh Caroline
6. I’m In Love With You
7. All I Need To Hear
8. Wintering
9. Human Too
10. About You
11. When We Are Together

Following on from her critically acclaimed debut “SAWAYAMA”, Rina Sawayama’s highly anticipated new record “Hold The Girl” sees Rina once again juxtapose intimate storytelling with arena-sized songs, creating another ambitious and original album to excite fans and critics alike.

Written and recorded over the last year and a half, Rina once again teamed up with longterm collaborators Clarence Clarity and Lauren Aquilina as well as enlisting help from the likes of the legendary Paul Epworth (Adele, Florence & the Machine), Stuart Price (Dua Lipa, The Killers, Madonna) and Marcus Andersson (Demi Lovato, Ashnikko) for their magic touch.

The product of Rina and these collective minds coming together is an album which melds influences from across the pop spectrum and is a bold and honest statement of Rina’s personal evolution; coming to terms with her own past and the jubilation of turning to the future.

It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut 'Return to the 36 Chambers'. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998.

TRACK LISTING

1. Intro
2. Shimmy Shimmy Ya
3. Baby C'mon
4. Brooklyn Zoo
5. Hippa To Da Hoppa
6. Raw Hide
7. Damage
8. Don't U Know
9. The Stomp
10. Goin' Down
11. Drunk Game (Sweet Sugar Pie)
12. Snakes
13. Brooklyn Zoo II (Tiger Crane)
14. Proteck Ya Neck II The Zoo
15. Cuttin' Headz

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure.

With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-effacing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.”

No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

TRACK LISTING

1. / A1. Cardinal Song
2. / A2. Slipping Husband
3. / A3. 90-Mile Water Wall
4. / A4. It Never Happened
5. / A5. Murder Me Rachael
6. / B1. Thirsty
7. / B2. Available
8. / B3. Sugar Wife
9. / B4. Trophy Wife
10. / B5. Fashion Coat
11. / B6. Patterns Of Fairytales
12. / B7. Lucky You

With Brexit upon us, MUCK AND THE MIRES and London’s own Dirty Water Records have raised the garage rock banner high over the palace proclaiming a new chapter in rock and roll. This new full-length, produced by the legendary Jim Diamond (White Stripes, The Fleshtones, The Sonics) features a royal 14 songs, allowing the group to explore deep all of their favorite rock sub genres. There’s the Power Pop punch of “Cupid’s Not A Friend of Mine”, '70s AM gold sounds on “Too Soon To Fall In Love”, a bit of Psychedelia in the form of “Strange Waves”, gritty garage-punk (“I’m Your Man”) and a return to their Merseybeat roots with “Don’t Start Running Away” Boston's International ambassadors of garage rock 'n' roll, Muck and the Mires, have been described as a blend of the Hamburg era Beatles and the CBGBs era Ramones.

Their songs are reminiscent of the 1960's British Invasion, all two minutes long and ALL POTENTIAL HITS! Their live show is a high energy blast of fast-paced, post-punk gritty garage rock and roll. They have built a worldwide following through relentless touring, radio and satellite airplay and a string of recordings, produced by Kim Fowley and Jim Diamond, considered by many to be cult classics. In 2004 the band gained worldwide recognition when they were featured on MTV as the winners of Little Steven Van Zandt's (E-Street Band/Underground Garage) national battle of the garage bands contest. The band has performed coast-to-coast in the USA, UK, EU, South America, Canada & Japan. Sharing bills with many of their heroes including The Sonics, NY Dolls, Ray Davies, Flamin' Groovies, The Stooges, Paul Collins Beat, The Fleshtones, The Remains, and even Beatle Pete Best. The palace gates are open and all our invited in for a smashing time. Long live Rock and Roll and Greetings From Muckingham Palace! MUCK AND THE MIRES and Dirty Water Records raise the garage rock banner high over the palace, proclaiming a new chapter in rock and roll. 

TRACK LISTING

1 This Time
2 I'm Your Man
3 Too Soon To Fall In Love
4 Strange Waves
5 Mint Condition
6 Sunny Feeling
7 Don't Start Running Away
8 Messed Up Mary
9 The Way It Was Before
10 Cupid
11 Hashtag Loneliness
12 Good Enough
13 Act Fast
14 Break It All

Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

Packaging has been simplified from the originals in the box set.

Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

Each album is pressed on heavyweight 180-gram black vinyl.

Originally released in 1986, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

Pressed on heavyweight 180g black vinyl, this album features the singles ‘Harlem Shuffle’ and ‘One Hit (To The Body)”.

TRACK LISTING

Side A

One Hit (To The Body)
Fight
Harlem Shuffle
Hold Back
Too Rude

Side B

Winning Ugly
Back To Zero
Dirty Work
Had It With You
Sleep Tonight
Key To The Highway

The 1975 deliver the follow up to BRIT Award Album of the Year winner ‘A Brief Inquiry Into Online Relationships’ on 21st February 2020. The band’s 4th album ‘Notes On A Conditional Form’ is set to be already the most anticipated album of 2020 and features the lead single ‘People’ and the Greta Thunberg call to arms album opener, ‘The 1975.’

Sick of wimpy indie kids prodding limply at pedal boards? Into hard drugs and cannibalism? Wanna punch a cop? Well kids we’ve got the record for you! Dirty Water Records have corralled 6 of the most rabid and dangerous rock ’n’ roll bands currently stalking the planet onto one piece of bubbling wax and let em off the leash!! From the blistering opening riffs of Up All Night to the thunderous wah-wah burn out of Too High To Die, this mother pumps like a two dollar hooker in a KFC parking lot!! A 12 pack of extra crispy RnR tunes fills out this disk of delinquency, with each group frying up one unreleased track and one old favourite.

Thus these prophets of thee party provide both a banquet of new and strange delights and a guaranteed recipe for all night partying and vandalism!! Yes that’s right pilgrim! This is a doctrine for the new world order! And no matter where you dig that underground bunker there’s no escaping the new rock ’n’ roll gospel cause these zealots come from all over pal!! From fromage fried France: LES LULLIES!! From sangria-soaked Spain: NAVE NODRIZA!! From jungle jivin’ Japan: THE FADEAWAYS!! From prozac usin’ USA: BLACK MAMBAS!! From nuclear New Zealand via lugubrious London: THE CAVEMEN!! And from maniacal Mars: The SCANERS!! Yep! Like it or not this sonic pestilence has gone global so do yourself a favour: grab a six-pack, pick yourself up a copy and study it like the bible cause this is the NEW TESTAMENT baby and the end times are near!! 

TRACK LISTING

1 Black Mambas - Up All Night
2 The Cavemen - My Baby Knows
3 The Scaners - No Place In Space (speed Version)
4 The Fadeaways - I'm Useless
5 Les Lullies - You're Doing Wrong
6 Nave Nodriza – Destrúyete
7 Les Lullies - What You're Doing
8 Nave Nodriza – Muérete
9 The Fadeaways - Nowhere To Hide
10 The Scaners - UFO Crash
11 Black Mambas - Baby I'll Give It To You
12 The Cavemen - Too High To Die

French gonzo-synth punks and intergalactic scuzzball house band. Miscreants from a future generation. Clad in white from head to toe, bug-eye shades peer out through a dirty water fog. They play a blistering set of songs that will propel, or had already propelled, them through the atmosphere on a fix of adrenalin in 2019. Is it the past or the future, for the present seems far away? Their second album, put simply, ‘II’, is a breakthrough moment, when the crawling Lo Spider once again takes control of this paranoiac, extra-terrestrial-abducted and abducting quartet and bounces the finished 12 doses into the hands of garage master Jim Diamond for mastering.

The result? Another bombastic, swirling garage acid trip through the stratosphere. Insane flights in the spiked punch bowl that is our galaxy. Destination: UNKNOWN. Lifeform: UNIDENTIFIED. Infection: CONFIRMED. Once again, as on their debut album, that which hit many ‘best of 2018’ lists, we are hurtling through space, kidnapped and unaware of where we head. With THE SCANERS as our only guides we’re tripping through on hyperspeed right from opener Please Abduct Me. Gonzo space punk a-go-go. The songs on II fly by full of alien abandon. More new-wave than their debut, but still an intergalactic riot. In 1947 they crash-landed. In 1977 they took off. In 2017 they returned and in 2019 they are preparing for a full invasion.

Finally the British Government are taking the imminent threat seriously. “The take-home message here is that there’s probably something out there, but we don’t know what it is. It’s an extraordinary revelation, not least because it directly contradicts the many specific denials that the US government has issued previously when asked about this subject, and their involvement in it. This isn’t quite the ‘spaceship in a hangar’ smoking gun the UFO lobby was hoping for. This is real!” Europe is on the move, succumbing to the infectious tractor beam-like tunes of The Scaners. All that is left is for the rest of the world to awake from their lucid dream state, shake off their shackles, and take flight. 

TRACK LISTING

1 Please Abduct Me
2 Catch Up With A UFO
3 Random City
4 Mars Attacks 5 Space X-ploration
6 Galactic Race 7 X-ray Glasses
8 Spin Like A Record
9 Don't Run, We're Your Friends
10 No Panic, No Stress
11 Pesticide Kids
12 Run DD Run

With a debut album, timing is everything. Too quick, and it can fall on deaf ears, too much unknown in its significant running length. Too long, and any initial buzz has long worn off, an opportunity missed. The Japanese House, however, arrives at ‘Good At Falling’ with steady momentum, carved out over four EPs that saw her graduate from introverted, hushed bedroom pop to fleshed-out, soaring pop. On her debut album, all this progression and promise comes fantastically good.

Amber Bain’s music has always been personal, but meanings have often been shrouded under swathes of production. A world of personal upheaval during the writing and the recording of ‘Good At Falling’ meant her subject matter was unlikely to get more obtuse, but the real power of her long-awaited debut lies in the way these struggles are laid out. Throughout the record, she puts herself in the firing line and lays herself bare.

Despite the album singing of psychological torment (‘You Seemed So Happy’), dissatisfaction with the status quo (‘Follow My Girl’) and moving on from a defining relationship (‘Worms’) across the record, they’re transmitted via the poppiest music Amber has written to date. After reflecting on “Sharing a house, sharing a life, sharing a home” and how there’s “so much pressure not to be alone” in the verse of highlight ‘Worms’, when she preaches to “invest yourself in something worth investing in” in its big, bright chorus, it sounds like a message strong enough to tattoo across your chest in times when being alone feels just a bit too much to bear.   -DIYmag

Superbeat group The Jack Cades bring you the best of Thee Vicars, Baron Four, Higher State, Speedball Jr, State Records And Hipsville. The Jack Cades were born in late 2017 when Mike (Lead Guitar, Vocals) and Elsa (Rhythm Guitar, Vocals) decided to record some of their songs at Mole's (Drums) notorious State Records Studios in Folkestone, Kent. They invited John Gibbs (The Masonics, The Wildebeests) to record bass on some of their songs at the time, which resulted in a mini debut LP "Music for Children”. At first, the band wasn't sure if it could work full-time as everybody was pretty busy on the Garage/Soul/Freakbeat/other undefined musical genre scene. Mike, Mole, and Elsa were all in other bands (The Baron Four, The Embrooks, The Galileo 7, The Missing Souls...) But, after recording, it wasn't a difficult decision to make. It sounded too good!

The Jack Cades had to play live! They then had the brilliant idea of asking the lovely Alexandra (Speedball Jr) to join them on bass, who accepted the proposition, thankfully. The Jack Cades is a mix of a shared passion for inspirational sounds such as 1960s Garage bands, Snotty Punk from the 1970s, Sun-kissed sweaty Rhythm n' Blues, and a lot of inspirational people. If this means nothing to you, it doesn't matter. Just listen to The Jack Cades and come see them play live, as music is for the soul and the ears, not for the eyes! 

TRACK LISTING

Big Fish
Identity Crisis 
Two And Two Make Ten
Get A Life
You've Seen It All
Head In Sand
I'm Going 
Don't Let Them Bring You Down 

Wild Evel brings his fuzz-guitar-meets-Screaming-Lord-Sutch brilliance out of the garage and into your living room. Being a savage kid lost in an era of uninspiring music the Staggers’ frontman, Wild Evel, teamed up in 2009 with part of former teenbeaters the Roadrunners to form a supergroup, providing serious garage punk at it’s best! Take some of Billy Childish’s trashy guitar solos, some of the Miracle Workers’ and The Stomachmouths’ catching melodies, add the “three-finger organ”, invisible monsters and cavemen and you know what these guys are up to! For sure the Trashbones have their roots in the 1960s U.S. garage punk, when teenagers started playing their own music, delivering their own ideas and ideals through tight and catchy lyrics telling the conservative society, “here we are”!

The sound, that these proto-punks produced is the same sound of the four Austrian freaks – succinct fuzz-guitars, farfisa organ, furious drumming and wild, howling vocals that represent a 100% hi-octane Rock’n’Roll attitude. Besides the sound, Wild Evel & the Trashbones also stand out with their untamed live performance for which each member pushes his plan through! On the drums you might be tempted to have found Keith Moon’s reincarnation, while Wild Evel shoulders his organ to start a solo! Since their formation in February 2009, the Trashbones have been touring from all over Europe to Russia, where they were delighted to present their distinctive sound and furious live performance at numerous club gigs and remarkable festivals. Their new album, "Digging My Grave" is 13 slices of the most fuzztasic garage punk you're ever gonna hear. 

TRACK LISTING

1. Der Bucklige
2. Digging My Grave
3. Bugs On My Back
4. The Mess I'm In
5. 300 Pounds Of Joy
6. Ain't It Hard
7. Why Can't We Be?
8. Coyote
9. Telling Lies
10. Gotta Leave Town
11. Fried Chicken Legs
12. I Lost My Mind
13. T-R-A-S-H-B-O-N-E-S

ARCHIE AND THE BUNKERS is Emmet on (drums/vocals) and Cullen (organ/vocals). Formed in Cleveland, Ohio, in 2013, the teenaged brothers began recording music in their basement, self-producing their first two EPs with a raw garage-punk sound that draws heavily from their diverse musical influences, ranging from jazz organ greats like Jimmy Smith, and Richard ‘Groove’ Holmes, to punk icons Dead Boys (they opened for original member Cheetah Chrome earlier this year), The Stooges, The Screamers, The Damned, and more. On stage, these home-schooled siblings attack their songs with a frenetic energy that whips the audience into a frenzy.

The unique growl of sixteen-year-old Cullen’s whirring, overdriven organ and the driving beat of Emmett’s four-piece drum kit leave gig-goers in shock at the sonic assault levied by a group made up of just two boys. As a local reviewer wrote, the boys “sometimes draw initial attention from a crowd because of their tender years. But their ages belie the talent and powerhouse show they put on every time they hit a stage.” The twelve songs on this, their debut album, were recorded at the famed Ghetto Recorders in Detroit, with near legendary producer/engineer Jim Diamond capturing that unique Archie sound that’s been dubbed ‘Hi-Fi Organ Punk.’ Fourteen-year-old Emmett, however, prefers to describe their sound as, ‘rock’n’roll that’s been peeled back to its raw foundation’. Having played a number of high profile gigs in recent months, including support to The Sonics at the Beachland Ballroom in their home town this summer, these kids are scorching hot and ready to break out, not just out of Cleveland, but internationally.

‘The novelty of their ages drops away the minute they begin to play,’ says Matt Fields, manager at the Beachland. ‘These guys are frickin’ stars, man. They are total pros. The first time I saw them my jaw hit the floor. Every time they play, within two songs everybody at the bar has left their seats to go stand in front of the stage to watch and listen to them. I haven't felt this strongly about a new band in a long time. They have no pretention, no inhibition. They are just having so much fun with the music. They are mind-blowing players. And such nice kids.’ 

TRACK LISTING

Sally Lou
Lady In RKO
I’m Not Really
Sure What I’m
Gonna Do
Knifuli Knifula
You’re The Victim
Different Track
Miss Taylor
Austria
I Wish I Could
Trade Winds
The Last Stooge
Joanie

Beck, in a Spanish press conference, said: “Los Chicos are my favourite Spanish band.” Los Chicos is a five-man rock’n’roll machine constructed from the best parts of all the best components of 20th century rock’n’roll and rythm’n’blues. They put the ingredients into the mix...and then kick the livin’ shite out of it! It's a sound that, on stage, explodes into a powerful and exhuberant rock'n'roll party. Featuring a line up that makes the Cramps’ audience at Napa State look normal – a fast talking highclimbing frontman, a shaven-headed evil Doctor Pineapple, a bubble-permed bassist, and last but not least the only real twin guitar team treading the boards today, Spain’s best band gather new fans everywhere they go. It's your turn next! For this, their fifth album, recorded in the summer heat of Madrid in four days and mixed in another three by Mike Mariconda, Los Chicos have collaborated with well-respected Spanish artistes such as Josele Santiago from Los Enemigos and Hendrik Röver from Los Deltonos. There cannot be a more direct, more raw, less artificial recording available today. In the Spain of today this is the only way to deal with the problems, primarily economic, affecting Spanish society and the band members in particular: beer, good parties and much laughter. And this comes out in the recording, along with a dash of anger. And, in part thanks to the current climate, this may be the most powerful sound they’ve ever achieved.

TRACK LISTING

1. Hear It Again
2. You Sold Me
3. War Or Party
4. Age Of Stupidity
5. Willie And The Handjob
6. On My Face
7. A Miracle Working
8. Motel Ford
9. Colored Caves
10. Sportman’s Paradise
11. Fire In Our Soul
12. One Bourbon, One Scotch, One Beer, One Wine

Now available on black vinyl. Third single released from their breakthrough album in 2002.

Legendary instrumental trio Dirty Three will boldly break cover in February 2012 with a remarkable new album, 'Toward The Low Sun', on Bella Union records.

'Toward The Low Sun' is the product of the most ceaselessly creative period in the band’s career, in which Jim White, Mick Turner and Warren Ellis have relentlessly made music in different permutations and locations around the globe. No other Australian band has ever impacted on international music in such a subversive fashion. This is a band that exists within itself and outside of itself, generating a massive (and massively influential) body of work.

Mick lives in Melbourne where he has built his own studio space, developed a fine reputation as a visual artist and released the Blue Trees album alongside the occasional Tren Brothers release. Jim is based out of Brooklyn but endlessly tours the world, recording and/or performing with the likes of Cat Power, Bonnie Prince Billy, Nina Nastasia and PJ Harvey. Warren resides in Paris, though is regularly to be found touring with the Bad Seeds and Grinderman or working with Nick Cave on soundtracks for such films as The Assassination of Jesse James by the Coward Robert Ford, The Proposition and The Road. He recently made his acting debut in the film Médée Miracle, alongside Isabelle Huppert.

Dirty Three’s live appearances over the past few years reflect the band’s standing on the international stage. All Tomorrow’s Parties invited them to curate a three day event in the UK, and the band has also played at ATP festivals in Japan, Australia and the USA.

However, all of this frantic creativity and activity is now merely an exotic backdrop to the release of the new album Toward the Low Sun. A return to the mothership was inevitable. There is a certain magic that can only be invoked when these three elements are brought together. Nothing else sounds like the Dirty Three. They are one-off phenomena. As Warren Ellis says: “There is a dialogue within the group that we are all still keen to explore”.

Toward The Low Sun is not a cosy, nice-to-be-back, return to the comfort zone. There is an energy and a raw excitement evident from the first electrifying opening moments through to the album’s finale. In Warren’s words, “Dirty Three has always been about the way we play together and feed off each other. We wanted this one to be a return to the more improvised and instinctive approach of the earlier recordings”. And indeed Toward The Low Sun sounds like a first ever recording, a punk avant-garde art-jazz record! And for all their incredible music of the past, the Dirty Three have never seemed more relevant.

Toward The Low Sun is produced by Casey Rice and Dirty Three and was recorded in Melbourne at Head Gap studios and mixed at Sing Sing.

STAFF COMMENTS

Darryl says: The return of the Australian instrumental trio, 'Toward The Low Sun' is a highly emotive avant-garde album - you can almost feel the baking hot Antipodean sun. Excellent as always!

After starting out in the city of Melbourne, Australia, The Kits relocated to London where their sound has come into its own. Their tales of crime, addiction and short-lived romances have resulted in a rapturous following and earned them support slots with The Dirtbombs, Wolfmother, The Saints and The Nightmarchers, as well as rave reviews in magazines like Kerrang and Artrocker. Taking as their starting point the days when rock’n’roll was still considered a threat to the morals of the world’s youth, The Kits are a garage rock’n’roll band at heart. They’ve taken the stomp and grit of the 50s and 60s and given it the injection of eternal youth through relentless guitar hooks and snarling vocals. Their music is for yesterday, for today, for tomorrow.

The Kits debut album "Primitive Tales" was released through Dirty Water Records late in 2008 and has gone through several pressings. Reviews said: "I Want To Hold Your Hand and Go To Hell" is the coolest song of the year. Period. I had to get that off my chest. Many make it a point to say that powerpop is garage rock with some Kinks influence and better production, but this is not garage rock. The Kits have managed to carve themselves out a nice little space somewhere between the two. The album’s catchy, loud, and has plenty of snarls, wails, and early punk styled melodic riffs; the style of music is very much like Television and The Saints with heavy guitar, but with a little more willingness to at least attempt at having something called a vocal, with melodies that knock on the early post punk of Joy Division, with a little more power, a lot more heart, and a lot less darkness.

Their latest recording session was produced by Chris Bailey (of The Saints), and the first release from these endeavours is available as seven inch vinyl. The vinyl single also features the track "Detroit Feeling" and is a limited edition release of 500 individually numbered copies, on 70gram thick red coloured vinyl.

Little Johnny Jones leads the way on these two piano-driven blues rollers featuring Elmore James' backing band The Chicago Hound Dogs.