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Favourite Worst Nightmare is the second studio album by English rock band Arctic Monkeys, released on 23 April 2007 by Domino Recording Company. Recorded in east London's Miloco Studios with producers James Ford and Mike Crossey, the album was preceded by the release of lead single "Brianstorm" on 2 April 2007. Label: Domino – WIGLP188 Barcode: 5034202018810 -
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The Car is the seventh studio album from Arctic Monkeys. Featuring ten new songs written by Alex Turner, produced by James Ford and recorded at Butley Priory, Suffolk, La Frette, Paris and RAK Studios, London. Buy and receive an instant download of the tracks I Ain’t Quite Where I Think I Am, Body Paint and There'd Better Be A Mirrorball and the full release now. Comes with an MP3 and WAV download card. Label: Domino – WIGLP455 Barcode: 887828045518 -
The debut Arctic Monkeys album is, as we all know, one of the finest debut statements in rock history. It marries the youthful exuberance of a band about to embark on a long career with the tunes of experienced songwriters. Truly one of the best and eternally most relevant albums in the British rock canon. Label: Domino – WIGLP162 Barcode: 5034202016212
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This is the brand-new album of Arrest! Charlie Tipper. 19 tracks recorded during lockdown. Once again, the Tippers are magnificent, and it will be one of the best underrated albums of 2022. A masterpiece that should be owned by all music lovers of the alternative pop underground. Limited to 175 numbered copies. Label: Old Bad Habits, Breaking Down Records
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Let The Blind Lead Those Who Can See But Cannot Feel is the 2007 debut album from Atlas Sound, the solo moniker of Deerhunter frontman Bradford Cox. Citing the “ideas that I can't make work with a rock band,” the record is a beautiful and unparalleled meld of garage rock and ambient electronics. Now included on the album is the 2008 six-track EP, Another Bedroom. (4AD – DAD 2811)
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Limited 4 track Double 7” in gatefold sleeve. Pressed on yellow vinyl. Includes postcard and poster. Part of the Optic Sevens 3.0 Reissue Series. Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis and Bret Lunsford. This 4 track single was originally released in 1987 on 53rd & 3rd records and appears here for the first time on 7”. Label: Optic Nerve Barcode: 0604565501608
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A Lo-Fi, Garage, Indie-Rock band from Bristol that lasted most of the 90's and again a few years later...The best way to describe them is Eclectic! Nothing was ever out of bounds. From pure out and out hooky Indie-pop tunes, to weird oddities and crazed noise blasts! John Peel was a huge supporter. (5 Sessions!!) Here they have collected 45 of their favourite songs, and what a mighty fine collection it is too! Imagine if you will a sort of 'White Album' for a band who had no money and had to record as and when & where and how they could, and as cheaply as possible! We think you'll be impressed! In their time they played shows around the world, supported all your favourite big indie names (The Fall, Flaming Lips, Superchunk, Archers Of Loaf, Wedding Present, Slowdive, Guided By Voices, Blur, Lush, The Rod Jane & Freddie Experience etc...) and it was suggested by one magazine they might have been the influence for Blur leaving their 'Country House' and Woo Hoo-ing their way back to the top of the charts with a harder sound... Pavement got the credit, but those who knew, knew. We're saying nothing. This is a great chance for younger music lovers to get a collection of songs from the best lo-fi band ever, and for older ones to remember. All songs are remastered. Limited to 250 copies on Transparent Petrol Green Vinyl. Comes with postcard, Sticker & A5 16 pages booklet. Label: Old Bad Habits Label, Raving Pop Blast! Records
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The Third Eye Centre is the second compilation album by Belle and Sebastian, released on 26 August 2013. It assembles various B-Sides and rarities the band has released since its previous compilation album Push Barman to Open Old Wounds. (Rough Trade – RTRADCD670)
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Remastered By Steve Albini And Bob Weston At Chicago Mastering. Headache is the 1987 EP by Big Black. A noisier affair than Atomizer, the four-song Headache EP was accompanied by a band-written sticker warning that it's not as good as the preceding LP. However Ready Men and Grinder are satisfyingly ornery, and the noise-fest of My Disco isn't far behind.12" - With Download. (Touch And Go Records)
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Recorded live in london in 1987, during the last big black tour, 'pig pile' opens in the band's typically charming manner with bassist dave riley announcing "this song is called 'dingy little back alley of a country'," before the band launches into a punishing 46-minute set. the concert includes material from the band's first ep, 'lungs', all the way up through 1987s 'songs about fucking'. the band's confrontational live sound emphasizes crackling, extremely harsh guitar and very brittle drums. in true punk rock style, the treble has been turned up as far as possible. 'cables' - about slaughterhouses and 'jordan, minnesota' - about a pedophilia scandal-both appear in radically sped-up versions. 'kerosene' is introduced as "a song jerry lee lewis wrote before he killed one of his wives," and steve albini's vocals are nearly buried beneath heaped shards of guitar shrapnel in 'steelworker.' while there is no substitute for actually living through the big black live experience, 'pig pile' - both on record and in its video form-documents one of the relatively few instances in history when music was actually dangerous. (Touch And Go Records)
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Originally released in 1983 on Homestead Records and re-released on Touch And Go Records in 1992. Recently remastered by Steve Albini and Bob Weston at Chicago Mastering. Includes coupon for an MP3 download of the album. Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. (Touch And Go Records)
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Female rock group Birtha formed in Los Angeles in 1967, a talented quartet with guitarist Michelle Pinizzotto, keyboardist Sherry Hagler, drummer Olivia Favela, and bassist Rosemary Butler, who opened for The Stones while in The Ladybirds; Pinizzotto had been in The Daisy Chain. After gigging the west coast, Gabriel Mekler signed them to ABC Dunhill in 1972 for this hard-rocking debut LP, a gritty original with plenty of balls, plus an emotive ballad from Pinizzotto, but despite extensive touring in support of its release, opening for The Kinks in Britain, the LP remained unjustly overlooked, making it now ripe for rediscovery. Gatefold. Label: Survival Research Barcode: 0637913420368
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Smashing up from the Bay Area underground, Black Cobra is ready to take the heavy music world by storm! Formed in 2002 by Rafa Martinez (Acid King, -16-) and Jason Landrian (ex-Cavity) this duo has been laying waste to audiences, taking on all comers, and leaving the remains to rot in their wake. Their sound is a crushing mix of High On Fire-tinged stoner metal and Buzzov*en’s Southern-fried sludge, with a heaping dash of Melvins-style drone to wash it all down. The two piece is the product of years of work between Jason and Rafa. Both originally from Miami, Florida, work started on Black Cobra while home visiting parents over the holidays. This lead to the trading of a series riffs through the mail and visits to each others residences in NY and LA for sporadic practices. The year 2004 saw the release of a raging 3 song demo maxing out at a whopping 6 minutes in length. The year 2006 saw the release of the 11 song goliath that is Bestial followed by relentless touring in America and Europe. In 2007, the band relocated to San Francisco and released their second album Feather & Stone taking the band to Japan for the first time and again touring Europe and America extensively. Live they are a beast like no other. Like their namesake, Black Cobra is at once hypnotic and whip-crack fast. Their two-man assault sinks its fangs into you before you even know what’s hit you. They are a touring machine, having hit the streets with everyone from High on Fire, The Sword, and Saviours to Torche and Genghis Tron. Booked by Tone Deaf Booking (Kylesa, Weedeater, Slough Feg), they don’t plan on slowing down yet. After releasing their two incredibly well-received full lengths on At A Loss Recordings, Black Cobra has taken their rightful place atop the metal throne as the latest signing to the true home of all things heavy – SOUTHERN LORD! Their first Southern Lord release, Chronomega, finds them treading in familiar territory; working with the sound that won them raves from fans and critics alike, while refining it to its sharpest point. No longer just another blunt object, Black Cobra’s music is now a razor-sharp weapon and a true force to be reckoned with. Produced by Billy Anderson (Melvins, Neurosis, Sleep, High on Fire), Chronomega is one of the heaviest records of ’09 or, for that matter, any year! It is a raging slab of pure, unadulterated heaviness. Label: Southern Lord Records
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Tyr (stylized as ᛏᛉᚱ) is the fifteenth studio album by English heavy metal band Black Sabbath, released in August 1990 by I.R.S. Records. Tyr. Label: I.R.S. Records – EIRSA 1038 / Unofficial Release
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Συντηρώντας τη φωτιά κάτω από ένα εκ των πλέον αγαπητών υπο-ιδιωμάτων του extreme metal, οι Blame Kandinsky βάζουν ακόμα ένα λιθαράκι στην ιστορία του παραδοσιακού mathcore. Επιδεικνύοντας εξαιρετικές τεχνολογικές δεξιότητες και μια ακατέργαστη, old school death metal αίσθηση, ανεβάζουν τη δουλειά που γίνεται με τις προηγούμενες κυκλοφορίες τους σε νέα ύψη με αυτό το νέο άλμπουμ. Υπενθυμίζοντας σε όλους τι ήταν αυτό που έκανε τους The Dillinger Escaple Plan, Botch, Every Time I Die, Burnt By The Sun τις δυνάμεις που ήταν και αναμιγνύοντας το με τις διδαχές των Death της εποχής του "Sound of Perseverance", το Eclectic Ruiner είναι μια ξεκάθαρη ένδειξη του που βρίσκονται οι Blame Kandinsky του 2022. For fans of: Botch, Converge, Dillinger Escape Plan, The Chariot, Everytime I Die. • 12” 200gr Black Vinyl LP • Standard full color 4mm spine 300gr paper Outer Sleeve • Full Color printed 230gr paper inner sleeve (Venerate Industries)
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"This band released a split cassette with No Balls, and this fact is telling. Why? Because Blank Veins play horrible, churning, untoward noise-rock that pays grubby homage to said band and the related Brainbombs. First song is a rattling, skull-scraping thing overloaded with squalling sax. The beat to it is almost like the Gun Club or something, though the instrumentation suggests broken glass and corrugated iron rather than Jeffrey Lee Pierce’s spidery guitar fragments. Second song is a stuck lurch, the same riff cycling over and over while beleaguered vocals howl misfortune and that infernal sax parps mercilessly away. It’s brain-gnawingly awful and borderline unbearable, but at the same time strangely compulsive. How they manage such a combination is a total mystery, but do it they do. Over and over and over again." 137 copies pressed in total. 95 came with black letter stamps on the label for the tracklist, and 42 came with red letter stamps. This is the second edition. Label: UNC – UNC-4
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"When the first stabs of treble drenched, over-driven guitar ring out, it sounds as if Blank Veins are about to take you straight into abstract, no-wave territory. But as the first track progresses and the drums and bass kick in, this bad boy veers straight into sleazy, pummeling noise rock territory. And fuck, as soon as the sax snaked its way in through the cacophony I was completely sold. Blank Veins take a simple, atonal riff and drive it forward for the entire duration of the song - completely deconstructing it and annihilating it in the process while the rhythm section pounds away in the background. Add intermittent background noise, yelled/slurred vocals and of course the sax and you have some sort of bastard child born from the fling between a Rhode Island noise rock band and an ex-East Village punk. Totally nihilistic, unrelenting stuff." For Fans Of: D.N.A, Brainbombs, Arab On Radar, Billy Bao, Sex Scheme, The Pop Group, Puffy Areolas Thessaloniki Noise Rules !!! Vinyl re-issue of the first Tape !!! 329 copies pressed, all on white vinyl. Label: Killedbyanaxe Rds
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All things must come to an end, and thus we present to you the final offering from Thessaloniki, Greece's elusive noise rock duo, BLANK VEINS. Following in the footsteps of their previous efforts, this release is a mess of repetitive riffs churned out with an almost New York no wave approach, and delivered in a way which should make any noise-loving degenerate salivate. Edition of 107 pro-dubbed tapes. Label: Estranged Communications
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In 2019, Bob Mould bucked the era’s despair with his melodic, upbeat album Sunshine Rock. Cut to spring 2020, and he has this to say: “We’re really in deep shit now.” That sentiment informs his new full-length album, Blue Hearts, the raging-but-catchy yin to Sunshine Rock’s yang.To be sure, we were in some shit in 2018, when Mould recorded Sunshine Rock. Back then, he had a song called “American Crisis” that didn’t fit the album. “That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown.“American Crisis” is the third song in a walloping album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says. Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.” Back then, Mould was a selfdescribed “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. Leaders were content to let AIDS kill a generation. Mould later realized why his mind wandered back there for Blue Hearts. “We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. AndI’m not going to sit quietly this time and worry about alienating anyone.”Recorded at the famed Electrical Audio in Chicago with Beau Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”“Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it. (Merge Records)
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Bob Mould returns with his next solo album titled 'Patch the Sky' via Merge Records. It is both his darkest and catchiest work. While written in solitude, Mould is backed on the record by longtime drummer Jon Wurster (Superchunk, Mountain Goats) and bassist Jason Narducy (Split Single). The first side of the LP is simple and catchy whilst he back-half of the record heavier in spirit and tone. (Merge Records)
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The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It's not because Mould - whose face belongs on the Mount Rushmore of alternative music - likes the current administration. His decision to "write to the sunshine," as he describes it, comes from a more personal place - a place found in Berlin, Germany, where he's spent the majority of the last three years. Here Mould would draw inspiration from the new environments. "Almost four years ago, I made plans for an extended break," Mould explains. "I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift." "To go from [2011 autobiography] See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, "Try to think about good things." Otherwise I could really go down a long, dark hole," he says. "I'm trying to keep things brighter these days as a way to stay alive."(Merge Records)
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In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, NO. The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album “Interlude” with anticipation of a follow-up. The follow-up comes with W the band’s debut album for their new label Sacred Bones Records. The record opens with the same melody as “Interlude” in a piece titled “I want to go to the side where you can touch...” and in contrast to the ex- treme sounds found on NO, this new album whispers into the listener’s ear with a trembling hazy sound meant to awaken sensation. On all of W Wata carries the lead vocal duties. In general the styles on the album range from noise to new age, as is typical with one of our generation’s most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell. NO and W weave together to form NOW, a duo of releases that respond to one another. In following their hardest album with this sensuous thundering masterpiece they are creating a continuous circle of harshness and healing, one that seems more relevant now than ever and shows the band operating at an apex of their musical career. Label: Sacred Bones Barcode: 0844667052855
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Highly recommended. 9th studio album from one of the most brutal bands on the planet, you either love 'em or loathe them. Another essential slab of ear fuckery. Brainbombs is a Swedish noise rock band formed 1985 in Hudiksvall. They are notable for their very repetitive, noisy, untuned, raucous sound. Their lyrical themes and concept have been very controversial, as some of the songs depict acts of rape, torture, and murder, similar to the writings of author Peter Sotos, who has been named as an influence for the group. Other artists named as influences for the band include Chrome, James Chance, and Whitehouse, and the group's name comes from a Punishment of Luxury song. (Skrammel Records)
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Appropriately naming themselves after the French New Wave classic from Jean-Luc Godard, Breathless are effortlessly cool, fashionably dark, hopelessly melancholic and frustratingly off-center romantics. Often lumped together with bands like The Sound and Comsat Angels, Breathless have more in common with the mid to late ’80s wandering output of The Cure, The Cocteau Twins and other artists stretching the post punk dream pop template, thanks to the strength of their arrangements and shifting time signatures, along with one of the greatest vocalists to ever step foot in the genre. Ari Neufeld knew a unique talent when she saw it and quickly drafted Dominic Appleton in to her current band due to his inventive keyboard skills. The two immediately found that they had a strong songwriting bond that far outstripped the rest of the group. Folding in guitarist Gary Mundy, with whom Appleton had been in previous projects, including their marvelous work backing Anne Clark on her debut album, the trio set out on a new path, with Appleton crucially taking command of the vocal duties. Linked to labels like 4AD, but with a strong sense of independence and a reluctance to tour endlessly, Breathless would self release their entire catalogue on their Tenor Vossa label. Certainly, the band had the charisma needed for stardom, along with the songwriting skills, but their output would remain on the margins, beloved by those in the know. (1972 Records)
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Tracks on A side are new, previously unreleased. Tracks B3, B4 recorded live at Moni Lazariston 2/9/2013. Digipack cd edition. (Smash Records)
