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THIRD MAN

Adult

Live At Third Man Records

    ADULT. have been stalwarts of national independent music for almost two decades, releasing their perfectionist hybrid of darkwave and synth-pop with respected labels Thrill Jockey, Kill Rock Stars, Ghostly International and, most recently, Mute. The soundscapes this Detroit duo sculpts by synthesizer stabs and sparse drum machine rhythm are icy, dense and precise. This release showcases the group in rare form, complete with the totally unexpected and kind of jarring sound of raucous audience laughter in place of typical applause as the intro as well as a light audible fuzz created by the third member of the group that night, their fog machine ;) Best of all, two of the tracks, Misshaped and Does the Body Know?, make their premiere on this release. ADULT. have outlasted any number of micro-electronic music scenes with whom they could have been grouped and, with their live show down to a science, prove that they will be worth a damn for a long time coming.

    The Raconteurs

    Help Us Stranger

      'Help Us Stranger' is The Raconteurs' third studio LP and first new album in more than a decade. It sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With 'Help Us Stranger' The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

      White and Benson wrote all the songs on 'Help Us Stranger' except one cover, “Hey Gyp (Dig The Slowness),” which was written by Donovan. Recorded at Third Man Studio in Nashville, TN, the album was produced by The Raconteurs and engineered by Joshua V. Smith. Longtime friends and musical collaborators helped make 'Help Us Stranger', including keyboardist/multi-instrumentalist Dean Fertita (The Dead Weather, Queens of the Stone Age) and Lillie Mae Rische and her sister Scarlett Rische. The album was mixed by Vance Powell and The Raconteurs at Blackbird Studios in Nashville.


      FORMAT INFORMATION

      Coloured LP Info: Indies only white vinyl version with alternate cover and hand-screen-printed sleeve.

      Death From Above

      Heads Up Demos

        Hot-off-the-Third Man Press, Death From Above’s completely unheard and unreleased demos from their first release, the Heads Up EP, gets the vinyl treatment. This black vinyl 7" comes with three cover art variants — distributed at random.

        Laughing Hyenas

        Life Of Crime

          While their style didn’t change much over the course of their first three albums, they kept improving on the formula and on Life Of Crime, they reached their peak! Brannon is a punk rock whirlwind with the conviction of an old bluesman, his relentless howl make this one of his finest vocal performances to date and make this a truly disturbing and terrifying listen.

          This is the last record of the “Butch Vig Trilogy” — a beautiful, creative partnership that resulted in three untouchable records and helped point bands like Nirvana and Sonic Youth in Vig’s direction.

          Laughing Hyenas

          Hard Times + Crawl / Covers

            Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin’ Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

            2 years after releasing Life of Crime, Kevin Strickland and Jim Kimball had left to form Mule. Many people thought this marked the end of the band; not the case. Todd Swalla (of Necros) stepped in on drums and Kevin Ries on bass. Over the new slightly toned down direction, the sound of the band somehow seemed even more extreme.

            Kevin Morby

            Live At Third Man Records

              Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases (the first album Harlem River is absolutely beautiful). These songs, "Destroyer" and "Black Flowers", come from his third record Singing Saw, which was chosen for Pitchfork Best New Music.

              "Destroyer" is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. "Black Flowers" on this single borrows less from the sweeping orchestras of Leonard Cohen's catalog and more from the melancholic austerity of Bert Jansch.

              Liza Anne

              Live At Third Man Records

                Recorded right before the release of her Arts & Crafts instant-fan-making debut Fine But Dying, both the A-side "Take It Back" and the B-side "Overnight" are from local popster Liza Anne's self-released album Two. "Take It Back" is moving, propulsive indie pop at its finest, somehow better with the strong conviction of their message captured live.

                "Overnight" starts out as a threadbare folk rock tune and compounds and builds up until, finally, the smoke clears again right before the finale, creating an impactful air around the last words sung.

                Datenight

                Bad Times / Not Myself

                  We are proud to release the second ever vinyl release from garage stomping, punk slugging rockers Datenight. Datenight have been playing what feels like every good show in Nashville for the past couple years. Their manner of smearing punk music with extra distortion and a dollop of pop, in the vein of Toy Love and the Oblivians, is incredibly contagious and just fun to see live. Anchored by impenetrable brickwall drumming, their A-side single “Bad Times” is an energetic maelstrom centered around the chorus mantra “can’t do it all by myself!”, which acts as a welcome invitation to the crowd to yell along with them.

                  Spray Paint

                  Cussin'

                    The Third Man team have been fanatics of Spray Paint’s sound for a minute. Their sound hits the sweet spot between the atonal movement of no-wave and nihilistic post-punk, like Mark E. Smith covering MARS. This chronicle of their live set in the Blue Room is excellent evidence. The fi rst track, “Cussin’”, originally released as an A-side in 2014, is even more tense and volatile in this live recording, held together by the loose glue of its hypnotic rhythm section. In light of the noxious political present, these live songs feel very urgent and necessary.

                    The Rebel

                    Riding In The Sun / Why Must I Pay

                      Known best as the frontman of Scottish arty punks the Country Teasers, Ben Wallers has been expanding his smart and avant-garde deconstruction of punk music as The Rebel. With these songs, there is distinct focus on the state of being on the outside looking in. This is not music burdened by the hustle and bustle; rather, it’s measured and critical and feels rooted outside city pressure. The songs are characterized musically by drum machine and synth stabs with loose-handed guitar, that is to say desolate and questioning. On the b-side, “Why Must I Pay” carries a biting critique; all macrostructures, not just punk or music, come into a disassembling, blinding spotlight - healthcare, monetary systems, humankind’s “gains.” Leave preconceived notions at the door and take notes.

                      Sun Seeker

                      Biddeford

                        Sun Seeker has carved out a universe all their own in Nashville, TN. Biddeford, their first EP and second release on Third Man Records, is near combustion level with beautiful atmospherics, willful lyricism and a supernatural ear for atypical pop hooks which should ring immediately familiar to fans of their debut 7’’ “Georgia Dust”. Six charming vignettes explore friendship, romance, and the daydreams populating the space between them.

                        EP highlight and single, “Won’t Keep Me Up At Night”, gives us the best of singer and principal songwriter Alex Benick – his ability to breathe life and a depth of scenery into a song, especially with the clever rhythms of drummer Ben Parks and guitarist Asher Horton’s near-perfect pop instinct.

                        Sun Seeker has climbed into broad daylight, into blessed dynamics, and every song blossoms as a result of it.

                        STAFF COMMENTS

                        Barry says: Sun-soaked guitars and hazy basses roll around the mix, topped with beautifully shining vocal melodies and imbued with vague melancholic leanings. It's a beautiful and endearing outing from Sun Seeker, and one set to endure for a time to come.

                        Neil Michael Hagerty & The Howling Hex

                        Live At Third Man Records

                          Neil Michael Hagerty is best known as the laconic frontman of 90s noiseforward
                          rockers Royal Trux. Back in September of 2016, NMH and The Howling
                          Hex showcased an off-kilter garage stomp fused with avant-blues aggression.
                          The two songs presented here are the surest insight into the mind of someone
                          who helped redefi ne rock ‘n’ roll by completely destroying it, but has since
                          settled into more cogent outbursts.
                          • Hometown: Washington DC / Denver, CO
                          • Recorded September 23, 2016 in Third Man’s Blue Room

                          The White Stripes

                          Get Behind Me Satan

                            The White Stripes’ 2005, fifth studio album reminds listeners of the fundamental nature of their production. While still maintaining their iconic elements listeners can immediately identify with The White Stripes. Jack White trades in his classic, guitar heavy elements for piano ballads, mandolin, acoustic guitar and even some touches of marimba.

                            The Rolling Stone declared this album so “wild, it could make you weep over how pitilessly the Stripes keep crushing the other bands out there.”

                            ‘Get Behind Me Satan’ ranked Number 3 on both US and UK Charts, trumping their preceding albums’ rank on US Charts. The album’s first track and single, ‘Blue Orchid’, became a fast radio hit in the US and UK, making it the band’s second UK Top 10 hit.

                            The album’s second single, ‘My Doorbell’, boasts a piano and drums charge, reviewed by NME as the “funkiest tune The White Stripes have ever put their name to.”

                            Slant Magazine invites listeners to “take solace in the unbridled honesty of simple, solid rock n’ roll” of ‘Get Behind Me Satan’, while Pitchfork crowns the album as some of The White Stripes’ best work.

                            ‘Get Behind Me Satan’ is that raw, foot-stompin’, soulful sound that will take your imagination to that peaceful front porch in some cosy Southern cabin so sit back and stomp your foot to the melodic acoustic guitar, piano, stirring vocals and crickets.

                            First time commercially available on 180gram black vinyl. Comes with digital download code of the album.


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