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THE MEN

Various Artists

The Men In The Glass Booth: Part 1

    In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.

    In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.

    Or so we thought...
    The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.


    STAFF COMMENTS

    Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Mega!

    The Men

    New York City

      "When everyone left NYC, the sewer opened and we crawled out.” Prolific Brooklyn institution The Men return with their ninth studio album, ‘New York City’. Arriving following 2020’s ‘Mercy’, the new LP is released February 3rd 2023 on the group’s new label home Fuzz Club Records and marks a return to the more scuzzy and abrasive rock ploughed over their decade and a half spent coursing through the grimy sewers of NYC. Here, nocturnal proto-punk meets a timeless, all-guns-blazing rock’n’roll gusto.

      That the album leans into a more primitive, back-to-basics sound owes largely to the way in which was forged, an earlier version of the record scrapped in favour of four people playing in a room together. “The New York City album was revised, reorganized and shaped until it became clear that things fall into place like the hammer driving the nail or the scythe's swipe through the tall grass.” The end result is a series of cuts played live and recorded to 2" tape in Travis Harrison’s (Guided By Voices, Built To Spill) Brooklyn studio.

      ‘New York City’ is a record that doesn’t stop moving for a second, packed full of the kind of energy you can only really capture in a live setting. “These songs became the blood of the band as the band could only exist for and of these songs. There was no place else to hang their hats. Without making this record, the group would not exist, so there really wasn't another option. NYC is fluid. It means a lot of different things to all kinds of people. We present the record in that spirit.”

      TRACK LISTING

      1) Hard Livin'
      2) Peace Of Mind
      3) Echo
      4) God Bless The USA
      5) Eye
      6) Eternal Recurrence
      7) Round The Corner
      8) Through The Night
      9) Anyway I Find You
      10) River Flows

      The Cribs

      Men's Needs, Women's Needs, Whatever - 2023 Reissue

        Produced by Alex Kapranos, the album is full of enduring anthems and is still considered by many as one of the defining indie rock albums of the noughties. In the USA, Rolling Stone made it one of their records of the year, calling it a “tour de force”.

        TRACK LISTING

        LP/CASSETTE TRACKLIST:
        Side 1
        1 Our Bovine Public
        2 Girls Like Mystery
        3 Men's Needs
        4 Moving Pictures
        5 I'm A Realist
        6 Major's Titling Victory
        Side 2
        7 Women's Needs
        8 I've Tried Everything
        9 My Life Flashed Before My Eyes
        10 Be Safe
        11 Ancient History
        12 Shoot The Poets

        CD TRACKLIST:
        Disc 1:
        1 Our Bovine Public
        2 Girls Like Mystery
        3 Men's Needs
        4 Moving Pictures
        5 I'm A Realist
        6 Major's Titling Victory
        7 Women's Needs
        8 I've Tried Everything
        9 My Life Flashed Before My Eyes
        10 Be Safe
        11 Ancient History
        12 Shoot The Poets
        Disc 2:
        1 It Happened So Fast (Vancouver Version)
        2 To Jackson (Vancouver Version)
        3 Don’t You Wanna Be Relevant?
        4 Fairer Sex
        5 Tonight
        6 Get Yr Hands Out Of My Grave
        7 Kind Words From The Broken Hearted
        8 My Adolescent Dreams
        9 Bastards Of Young
        10 I’ve Tried Everything (Acoustic)
        11 Men’s Needs (CSS Remix)
        12 I’m A Realist (The Postal Service Remix)
        13 Our Bovine Public (Demo)
        14 Men’s Needs (Demo)
        15 Moving Pictures (Demo)
        16 I’m A Realist (Demo)
        17 MTV (Demo)
        18 My Life Flashed Before My Eyes (Demo)
        19 Ancient History (Demo)
        20 Tonight (Demo)
        21 I’ve Tried Everything (Demo)
        22 Shoot The Poets (Demo)
        23 Be Safe (Rehearsal Tape For Lee)

        The Heads

        For Mad Men Only / Born To Go (Edit)

          Bristol's sike merchants the Heads have a 20 year anniversary to celebrate this week with their THIRD STUDIO album , "Under Sided", originally released in March 2002! . They've decided (!) to release a 4LP/plus boxset of that double album, with a double album of demos, their third peel session, and other such unreleased gems. Thats going to be released at the end of August /September. we'll send more details on that soon, once certain elements of that set are finished!

          Whilst trawling through the cassettes, CDrs, and ephemera in order to create the forthcoming "Under Sided" 20th anniversary reissue boxset.. the Heads found their cover of May Blitz's "For Mad Men Only", originally released as part of a 70s tribute comp LP on SMALL STONE Records. Also unearthead was their version of Hawkwind's "Born To Go" ..a full on 13 minute unedited version.. (a version of which appeared on the ROCKET Records 10" Out Demons Out. )

          How about doing a limited 7" single to announce the boxset's impending release... ideal, once Born To Go was edited down (full version in the boxset, of course!) Simon Price came up with a suitable wraparound sleeve idea.. and the 2 tracks were pressed to vinyl.. 900 (450 of two colours!) have been made.

          This is a full on, pedals set to stun, grooves set to vibrate sike assault, with the Heads at this point in time revelling in the peak of their psychedelic rock powers, and pretty much obliterating all around, then, and now. This aint no gentle-whimsy-psych indie rock this is the real brown-acid-gobbling mind-melting beast you were warned about..get on board!


          Various Artists

          Soul Men - Groovy Anthems By The Kings Of Soul

            There's no let up from the Wagram camp this week, who hook us up with no less than four killer comps. Keeping things decidedly binary, they've taken a battle of the sexes approach, furnishing us with 'Funk Women', 'Jazz Men', 'Jazz Women' and 'Soul Men'.

            'Soul Men' serves us nothing but the finest male vocal soul cuts of the 60s and 70s in an all killer no filler fashion. Special mention has to go for Side C with a run of worldies from Gil Scott-Heron, Aaron Neville, Darondo, Lonnie Liston Smith and Joe Simon.

            TRACK LISTING

            A1. James Brown & The Famous Flames - Please, Please, Please
            A2. Little Willie John - Fever
            A3. Barrett Strong - Money (That's What I Want)
            A4. Ben E. King - Stand By Me
            A5. Sam Cooke - (What A) Wonderful World
            A6. Ray Charles - Unchain My Heart
            A7. Solomon Burke - Cry To Me
            A8. James Ray - I've Got My Mind Set On You (Parts 1 & 2)
            B1. Otis Redding - These Arms Of Mine
            B2. Marvin Gaye & The Vandellas - Stubborn Kind Of Fellow
            B3. Stevie Wonder - Hallelujah (I Love Her So)
            B4. Gene Chandler - Duke Of Earl
            B5. The Isley Brothers - Right Now
            B6. Bob & Earl - Harlem Shuffle
            B7. Timmy Thomas - Why Can’t We Live Together
            C1. Gil Scott-Heron - Lady Day And John Coltrane
            C2. Aaron Neville - Hercules
            C3. Darondo - Didn't I
            C4. Lonnie Liston Smith & The Cosmic Echoes - Expansions
            C5. Joe Simon - Drowning In The Sea Of Love
            D1. Al Jarreau - Ain't No Sunshine
            D2. Barry White - Ghetto Letto
            D3. Curtis Mayfield - You Mean Everything To Me
            D4. Syl Johnson - They Can't See Your Good Side
            D5. Terry Callier - Running Around (Fug City Mix)

            Building on the success of 2018’s ‘Filoxiny’ (listed as one of Q Magazine’s ‘354 Albums to Blow Your Mind’) and this year’s ‘Umoja’ (“a pleasure to listen to from start to finish” – Songlines magazine) – both of whose singles have peppered the playlists of BBC 6 Music and have lead to his helming of a Bandcamp takeover - Skinshape returns with the witheringly, prophetically titled ‘Arrogance is the Death of Men’. Written and recorded between November 2019 and July 2020, Skinshape bids to recreate something akin to the ‘old style’ of ‘Oracolo’ (2015) and ‘Life & Love’ (2017). With ‘Arrogance…’, Will Dorey’s blueprint points to a simple formula, aligning a bank of fresh drum breaks recorded at the end of 2019 to whatever he had to hand, for a long player recorded in the majority at home due to the COVID-19 lockdown.

            Forever balanced between sweetness and a sigh, as per his position ‘Behind the Sun’, the Skinshape essence, intricate yet always reachable, at times tailored in a single session and sourcing archive bric-a-brac when required, is all around on the sweetly strummed ‘Tomorrow’ and ‘The Eastern Connection’, featuring Ivan Kormanak on drums. Maintaining an incisive knowledge of global sounds that keeps him in the filmic company of Khruangbin and El Michels Affair, Dorey’s listening to vintage Vietnamese music and Asian film scores provides the basis of ‘Sound of Your Voice’ and ‘Flight of the Erhu’, starring Wan Pinchu on Erhu violin. Acutely aware of the world’s ongoing health crisis without preaching about the whys and wherefores, the title track and ‘Losing My Mind’ reflect enforced confinement as tranquil songs of both quiet consideration yet powerful release. Dorey’s guitar pieces and wraith-like soul continue to flicker with fascination as Indian Summers and fireside retreats beckon, with ‘Watching From The Shadows’ - about “standing up for yourself, and avoiding the limelight for your own good”– and ‘Outro’ gently bringing the album to rest

            TRACK LISTING

            A1. Tomorrow
            A2. Sound Of Your Voice
            A3. Arrogance Is The Death Of Men
            A4. The Eastern Connection
            A5. Behind The Sun..
            B1. Another Day
            B2. Losing My Mind
            B3. Flight Of The Erhu
            B4. Watching From The Shadows
            B5. Outro

            Robin Turner

            Believe In Magic - Heavenly Recordings: The First 30 Years - Working Men's Club Exclusive Edition

              We're super excited to be able to get our hands on some of these limited edition version of this fantastic book. 

              This edition features an exclusive 7" single
               - Angel (part 1) b/w Angel (part 2) - from Piccadilly favourites Working Men’s Club. They blew us away with their live shows last year and we can't wait for their debut album. 

              You may have heard Angel in all its 12 minute glory in WMC’s legendary live sets. Here’s the studio version, produced by Ross Orton, split over both sides of a 7”.

              Heavenly was already a state of mind. Seemed like the right time to make it something really special. We were all deeply immersed in music that we loved. None of us could believe our fucking luck, really. (Jeff Barrett) 

              It was thirty years ago today - or thereabouts - that Heavenly came to be. In celebration of this big ol’ birthday comes Believe in Magic - a chronicle not only of Foxbase Alpha, Working Men’s Club and 28 of the releases in between that got the label to where it is today, but also of the haircuts, nights down the pub, pencil-eraser-carvings, cheese toasties, acid houses, Sunday Socials and lost Weekenders - Yorkshire and otherwise - that are as much a part of its story. 

              As Jeff Barrett puts it at the beginning of the book, if there’s a continuous theme that runs through all of this, I think it’s that everything comes down to conversations with people about music. It might seem like it all starts with someone on one side of the counter who is selling you something, or someone writing excitedly in a magazine telling you about a band you need to hear, but I don’t think I’ve ever really seen things as one-way transactions. It’s more an ongoing dialogue, one that never really stops and helps to build up this growing soundtrack to our lives, something that’s passed from one person to another. That’s really the ever-present thread. That’s why we still believe in magic. 

              Though we are three decades distant from The World According to Sly and Lovechild, lineup changes, ups, downs, and a good few office cleanups under the label’s belt, the Heavenly firm continue not to believe their fucking luck; at still being here, keepin’ on keepin’ on doing what they love, and at being able to pass all of this - then, now, and next week - on to you. 

              Believe in Magic is a fully illustrated history of one of the most colourful and exciting independent British record labels; a label responsible for creating satellite communities of fans around the country and at all the major festivals.
              After several years working at Factory and Creation, Heavenly Recordings was set up by Jeff Barrett in 1990 as the acid house revolution was in full swing; early releases set the tone and tempo for the mood of the decade to come - their first release was by perhaps the most revered acid house DJ of them all, Andrew Weatherall; and this was quickly followed by singles from St Etienne and Manic Street Preachers. 

              Heavenly was always different to other labels; more of a 'club' with a defiant spirit of inclusiveness, and in 1994 they set up The Heavenly Social, which alongside the Hacienda, became perhaps the most famous club in recent British history, where the Chemical Brothers made their name. 

              Over nearly 200 releases in thirty years Heavenly have consistently produced some of the most exciting music across all genres - dance, acid house, singer-songwriter, psych-garage - and this book collects rare photographs, ephemera, artwork into a celebration of a label that is, alongside Rough Trade and Factory, one of the most beloved institutions on the independent landscape. Running though the book are thirty stories, mostly told in the form of oral history by artists like James Dean Bradfield, Flowered Up, Beth Orton, Doves and Don Letts, which capture the presiding personality of the label, its bands and the people associated with its success. 



              The Men

              Mercy

                New York band The Men have always been genre-morphic and unpredictable, but on their eighth album Mercy they have truly done something new as a band. For the first time since forming, they have now created three straight records with the same lineup, and the result is a sound that feels developed and continuous despite running the gamut of mood, in true Men fashion. Having this lineup stability has allowed the band to deepen and finesse the sounds they were exploring on 2017’s Drift and produce tracks that have a unique and distinct voice.

                Mercy was recorded live at Serious Business studio to 2” tape with Travis Harrison. The band did minimal overdubs, contributing to the urgent feel of the recording. The album is simply the sound of a band that has a deep and unjaded passion for songwriting and creation, working at the peak of their collaborative connection.

                Mercy takes the listener on a cinematic journey throughout its seven tracks, beginning with the soothing but lonesome country rock opener “Cool Water.” This track, like many on the record, feels timeless, illustrating the band’s ability to write songs you are convinced you’ve heard before on the B-side of your favorite record from the ’70s. You are then pulled into its longest song, the 10-and-a-half minute psychedelic blues rock opus of “Wading in Dirty Water.” The band explore some new territory on Mercy, and they also revisit the Suicide-style sound they have been working on for a while through Drift and also with one of their side projects Dream Police, resulting in the highlight “Children All Over the World,” a song that could stand next to any classic rock hit but with The Men’s unique artistic savvy. It wouldn’t be a contemporary Men record without a total fuzzed-out stomper a la their Open Your Heart-era sound, and this record’s offering, “Breeze,” shows the band’s complete command of this urgent and pulverizing style. 


                STAFF COMMENTS

                Barry says: As stylistically varied a record we've ever heard from The Men, Mercy skilfully toes the line between pastiched 80's soft-focus synth work and grooving psychedelia, dipping toes into a wealth of genres along the way including gothic rock, blues and even veering towards the dancefloor. A fascinating and engrossing collection.

                TRACK LISTING

                1. Cool Water
                2. Wading In Dirty Water
                3. Fallin’ Thru
                4. Children All Over The World
                5. Call The Dr.
                6. Breeze
                7. Mercy

                Giant Sand

                Recounting The Ballads Of Thin Line Men

                  It’s 33 and a third years since the seminal Giant Sand and its country cousin The Band Of… Blacky Ranchette entered the studio to lay down their second albums. Yes. Both bands had recorded their second albums each. Two sides of the multi-faceted hyper-productive Howe Gelb. “I was turning 28,” he recalls, “and had been wanting to make and release albums since my early 20s, but only recently had figured out how. It was time to make up for lost time.”

                  Time was of the essence. That thin line between then and now has seen journeymen Giant Sand release 27-ish albums, their latest, ‘Recounting The Ballad Of The Thin Line Men’ turning the clock back to 1986’s ‘Ballad Of A Thin Line Man’, picking over the bones and making a whole new soup. All these years on, the latest incarnation of Giant Sand: Howe Gelb (guitars, piano) Tommy Larkins (drums) and Thøger Lund (bass), have dusted off the old vinyl and re-imagined those heady days – they’ve polished these buried gems, reignited some truculent tirades and rekindled an ageless angst. The revamp re-orders the tracks, drops a couple and adds ‘Reptillian’, a previously lost song hailing from their album’s 25th anniversary re-issue, a tune that opens proceedings and basks in all its crinkly glory. There’s also two takes of ‘Tantamount’. The unique thing about Giant Sand’ is they make it all their own, they sound like no-one else. The songs remain the same, but somehow completely different. Howe: “We were a fine storm. The greatest storm in terms of tumultuous velocity and pelting bluster. It proved unstoppable... for a minute”.

                  TRACK LISTING

                  1 Reptillian
                  2 Hard Man To Get To Know
                  3 Desperate Man
                  4 You Can’t Put Your Arms Around A Memory
                  5 Tantamount
                  6 Who Am I
                  7 Body Of Water
                  8 Graveyard
                  9 The Chill Outside
                  10 Thin Line Man
                  11 Tantamount Blast (Bonus Track)

                  NYC’s The Men have made a name for themselves as wayfaring musicians, constantly evolving and eluding their listeners. Before they were genre-hopping through country, post-punk, noise rock, and more, they were applying that experimental nature within the more confined space of punk. Within that genre they were wildly adventurous, playing noise shows, hardcore shows, rock shows, and switching up the instrumentation as they saw fit, while always operating within a general punk ethos. Their first demo was a hand-dubbed and spray-painted run of 32 copies, half of which worked, and their first shows were at New York dives like Tommy’s Tavern, Matchless, and Don Pedro (all of which have been shut down).

                  That hand-dubbed demo kicked off a furious run of creative output from 2008 to 2011, much of which is now collected on the new compilation, Hated. The songs on Hated are pulled from a variety of sources — the debut demo tape, a split with Nomos, a 7", a 12" EP, and a slew of unreleased demos, outtakes, and live recordings. These songs show the huge range and potential of a band still in its infancy, when they were just beginning to blaze the path they’re still on to this day.

                  The core value of the original incarnation of The Men was work ethic. The band became a lifestyle for original members Chris Hansell, Mark Perro, and Nick Chiericozzi, with Hansell even living off unemployment checks to dedicate his time to the project. The three of them would jam and obsess over music together over all else.

                  For those who were at those early NYC shows, Hated will be a welcome reminder of a glorious time in the underground. For those who weren’t, it’s a chance to experience The Men as the locals did, and to get a glimpse of a Brooklyn DIY scene that doesn’t really exist anymore, at least not in the same way. And for diehard fans of the band, it’s a reminder of how much they’ve evolved, and how much more evolution they still have to go.


                  TRACK LISTING

                  1. Twist The Knife
                  2. Hated
                  3. Free Sitar
                  4. Gates Of Steel
                  5. Ailment
                  6. Digital Age
                  7. Control Loop
                  8. Think (7" Version)
                  9. Impish
                  10. Walking Out On Love
                  11. Saucy
                  12. Somebody’s Watching Me
                  13. Love Revolution
                  14. Captain Ahab
                  15. Cowboy Song
                  16. California
                  17. Wasted

                  Elle Mary & The Bad Men

                  Constant Unfailing Night

                    Led by Elle’s guitar playing and beautiful, nuanced voice, ‘Constant Unfailing Night’ peels away layer after layer of expectation. Rhythmically challenging and yet unassuming, it leads you down a rabbit hole of emotions, sonics and stories, reminiscent of bands from Smog to Sharon Van Etten.

                    Though firmly grounded in folk-noir, the album carefully carves out its own space. From “Falling”, a song that seemingly gets more complicated after each listen, to the crescendo at the centre of “Behave”, where the vocals open the door from folk to anger, Elle Mary & the Bad Men have crafted a journey. Elle Mary explains: “This album has been written over the course of three years, a project started in response to a break up, a shift, a necessity to carry on. As I wrote and filtered out songs, the focus started to change and became about tapping into some part of the subconscious, looking for the part of me that knows better, but that I seem to ignore. The Bad Men, Michael Dubec and Pete Sitch, have joined me on this journey and probably know me too well as a result of it. The weight they add to the songs is incredible and I really couldn’t ask for a better band.

                    “Space and a minimal approach has always been the most important part of the music to me; to do more with less. It’s this that draws me in the most about the artists I love (Low, Julie Doiron, Bill Callahan etc.). The space allows my voice to sit on top and the words seep in. I don’t really enjoy telling people what the lyrics mean; I prefer them to interpret for themselves: that perspective interests me; I like the freedom of taking what you want from a song.”

                    For fans of: Jenny Hval, Sharon Van Etten, Low

                    STAFF COMMENTS

                    Barry says: Beautiful tender string plucks and Elle Mary's haunting vocals soaring over the top, Constant Unfailing Night is another winner from Manchester's own Sideways Saloon.

                    Drift is the seventh full-length by NYC rock polymaths The Men. The band’s last album, the self-released Devil Music, was the sound of a band who had been through hell hitting reset and looking to their roots to rediscover themselves. On Drift, The Men return to their longtime label Sacred Bones Records and explore the openness that Devil Music helped them find.

                    The immediately evident result of that exploration is the experimental quality of much of the material on Drift. Songwriters Mark Perro and Nick Chiericozzi chase their muses down a few dozen thrilling rabbit-holes over the course of the album’s nine tracks. The songs on Drift veer in a number of directions, but notably, almost none of them feature a prominent electric guitar. The lone exception, “Killed Someone,” is a rowdy riff-rocker, worthy of the finest moments of the band’s now-classic Leave Home and Open Your Heart albums. The rest of the album drives down stranger highways. “Secret Light” is an improvisation based on an old piano riff of Perro’s. “Maybe I’m Crazy” is a synth-driven dancefloor stomper for long after last call. “Rose on Top of the World” and “When I Held You in My Arms” are paisley-hued, psyched-out jams with big, beating hearts.

                    The album was recorded to 2" tape with Travis Harrison (Guided by Voices) at Serious Business Studios in Brooklyn. A whole pile of instruments was involved — synths, strings, sax, steel, harmonica, tape loops, on top of the usual guitar, bass, and drums. Unlike recent releases from The Men, there aren’t many overdubs on Drift — a reflection of the personalities of its makers becoming less frantic, Chiericozzi suggests. In fact, the band removed a lot of the additional parts they tried adding early on, giving the final product a bit of a ghostly feel. The songs on Drift took giant leaps and trips from their beginnings only to find the band returning to the first spark of creation.

                    TRACK LISTING

                    1. Maybe I’m Crazy (4:11)
                    2. When I Held You In My Arms (4:59)
                    3. Secret Light (4:16)
                    4. Rose On Top Of The World (4:28)
                    5. So High (3:26)
                    6. Killed Someone (2:30)
                    7. Sleep (2:45)
                    8. Final Prayer (5:46)
                    9. Come To Me (2:45)

                    White Hills / Radar Men Of The Moon

                    Split Single No 8

                      White Hills and RMFTM are the latest additions to Fuzz Club Split Single alumni, one which already boasts rock n roll leviathans The Black Angels, A Place to Bury Stranger, Alan Vega and The Telescopes.

                      Psych-rock favourites RMFTM contribution to the series the colossal soundscape ‘Decadence’. The Dutch instrumentalists have released three sold-out albums since their inception and ‘Decadence’ is typical of their explorative style. Coming in at just under ten minutes long the track opens on harsh industrial noise pounding through a constant wash of eerie reverb, guitar riffs chime in as tooth-rattling percussion submerges you further into this huge, ethereal wall of noise. ‘Decadence’ is truly testament to the bands limitless avant-garde capabilities. The track continues in the hypnotic, abstract sound RMFTM have built with their previous record Subversive 1 (whose follow up Subversive 2 is currently in the works) and invites fans to follow them deeper down the musical rabbit-hole.

                      Joining RMFTM is one of New York’s most prolific bands, stoner / psych / space outfit White Hills. The duo - whose fruitful existence has spanned over a decade and seen forty releases - contribute their space-rock epic ‘You Pass By’. Having already built a dedicated cult following, the band recently gained further notoriety after an appearance in the Jim Jarmusch film Only Lovers Left Alive. ‘As You Pass By’ is a climactic otherworldly mix of swirling electronics building up as deep bass roils beneath singer Dave W’s gravelly vocals until the song erupts into a whirlwind of bluesy distorted guitars and screeching feedback, underpinned by a chilling spoken word sample. Both acts share a love of the surreal and approach music as experimental art. Their avant-garde soundscapes are the perfect foil for one another, proving that in the case of Fuzz Club Split Singles, the whole is truly more than the sum of its parts. 

                      TRACK LISTING

                      White Hills - As You Pass By
                      RMFTM - Decadence

                      Mike & The Melvins

                      Three Men And A Baby

                      ‘Three Men And A Baby’ is the new album by Mike (Kunka, bassist / vocalist of godheadSilo) and The Melvins.

                      In 1998, Mike and his friends The Melvins - who at that time were King Buzzo (guitar / bass / vocals), Dale Crover (drums / vocals) and Kevin Rutmanis (bass / vocals) - started making a record at Tim (The Champs) Green’s Louder Studios. Complications occurred and the incomplete recording sat until 2015, when everyone reconvened and finished the damn thing at Sound Of Sirens in LA with Toshi Kasai.

                      The results are worth the wait. Mike’s signature bass crunch and vocals are all over it and The Melvins are in fine form. The album has everything from hefty noise rock churn to a Public Image Ltd. song to cough syrup blues to deconstructed black metal.

                      TRACK LISTING

                      Chicken ‘n’ Dump
                      Limited Teeth
                      Bummer Conversation
                      Annalisa
                      A Dead Pile Of Worthless Junk
                      Read The Label (It’s Chili)
                      Dead Canaries
                      Pound The Giants
                      A Friend In Need Is A Friend You Don’t Need
                      Lifestyle Hammer
                      Gravel
                      Art School Fight Song

                      Tenpole Tudor

                      The Swords Of A Thousand Men

                        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                        Limited edition picture disc.

                        TRACK LISTING

                        A.The Swords Of AThousand Men
                        B. Love And Food 

                        The Men's new LP for Sacred Bones is the tongue-in-cheek-but-still-auspiciously-titled Tomorrow's Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow's Hits is a concise collection of songs that nonetheless expands the band's ever-evolving musical palette. It's an album full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band. After spending much of 2011 and 2012 on the road, including a trip upstate to write and record New Moon, their fourth full-length in as many years, The Men needed a break. They decided to take the winter of 2012 off to work on new material in Brooklyn. The converted founding member Mark Perro’s bedroom in Bushwick into a practice space and rehearsed there nearly every day for three months, cutting more than 40 demos. By the end of that winter, the Men had pared that crop of songs down to 13. With their plans to take a break foiled by their own work ethic, they decided to record those songs before New Moon came out. They booked two days at Brooklyn’s Strange Weather studios, clocked in, and tracked all 13 songs entirely live, even including a horn section.

                        Eight songs from those sessions made the final cut for The Men’s new LP, Tomorrow’s Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow’s Hits is a concise collection of songs that nonetheless expands the band’s ever-evolving musical palette. It’s full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band.


                        TRACK LISTING

                        1. Dark Waltz (5:15)
                        2. Get What You Give (3:22)
                        3. Another Night (5:30)
                        4. Different Days (4:33)
                        5. Sleepless (3:13)
                        6. Pearly Gates (6:19)
                        7. Settle Me Down (4:59)
                        8. Going Down (3:43)

                        The Magic Band

                        21st Century Mirror Men

                          "These shows will astonish you. I had tears of joy in my eyes". This was the standout line from a Five Star review by The Guardian newspaper of the live shows by The Magic Band - a collection of extraordinary musicians drawn from the lineups that were brought together over the years by the legendary Captain Beefheart. Tribute bands and ghost bands are usually a decidedly poor relation to the real thing, but The Magic Band are different, as the tracks on this album prove. Recorded at the UK shows during 2004, the material bursts with new life, and the band achieve a near-impossible task - not just playing the notes as they are on the records (hard enough in itself in some cases) but playing them convincingly enough to send a sold-out London audience into ovation after ovation. These are the players who were inducted into the Captain's secret musical universe, and who transformed his unique ideas into works of unfathomable and inimitable beauty, and live in 2005 they did that same thing again.


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