• Out of stock
    The Ex have hooked up with one of the most powerful horn sections imaginable and sparks are sure to fly. Since 1979 this inspired, intrepid and seminal band has consistently pushed the envelope, plotting a restless course from their anarchist punk origins to embrace everything from fractured noise to Ethiopian groove. Their thrillingly raw and rhythmic rock sound is born from their ideals, musical friendships/networks and work ethic. Alive to the moment, they are sometimes described as “experimental trance-dance avant-afro-punk improv music” and no one knows what descriptions this metamorphosis will conjure up. The Ex plan to unleash a new wild and combustible show in collaboration with four of the world's most powerful and performative horn players for some in-the-red swing time. Brass Unbound comprise Swedish force of nature Mats Gustafsson (saxophone), Chicago jazz heavyweight Ken Vandermark (saxophone), Italian wild card Roy Paci (trumpet) and boundary busting classical/futurist Wolter Wierbos (trombone). The line up is dexterous and dangerous, as players, improvisers and entertainers, this group is nothing short of phenomenal. Expect fireworks. The Ex have been involved in a steady stream of boundary-breaking collaborations, releases, tours and films that have established them as a unique but under-acknowledged force in rock music, who are always on the move, but always sound like The Ex. (EX Records)
  • Out of stock
    ‘‘It doesn't sound good on paper: Classic 30-year-old punk band loses vocalist, replaces him, and immediately records and releases a new album. Imagine the Buzzcocks with a ringer on the mic, for example. But the Ex is no ordinary band. This is possibly the most evergreen band that's ever existed, and Catch My Shoe is no exception. G.W. Sok's back-of-the-mix Cockney half-bark is missed, but his replacement Arnold de Boer, of Ex collaborator Zea, does a remarkable job in his stead, offering a voice of an entirely different power, a weird combination of loud and calm, between seething chant and pub-conversational. But, more than that, he offers a third guitar and, oh my, the sweeping result is like the hot, burning wind that comes right before an approaching forest fire. But the new member is only part of the story. The Ex doesn't change, it evolves. In recent years, the band's been working with Ethiopian sax legend Getatchew Mekuria; its most recent output was a 2006 collaborative record with him. If you were lucky enough to see the Ex play with Mekuria and a full horn section two years ago at the Ottobar, you already have some idea of what the band can do with horns and African influence in general. Which would be the sort of seamless fusion that belies the word, or what happens when an artist approaches another culture with earnest curiosity about its music (versus trend-sniffing). So, yes, take punk rock that manages to be both sweeping and sharp/angular enough to almost cross over into "math" and rewire its DNA with a blessed torrent of brass and crazy rhythms. Dig when it goes full-bore post-everything on "Eoleyo", in which drumming powerhouse Katherina Bornefeld takes the mic with the sort of traditional African vocal style that in the hands of any other Western band that comes to mind would be the sort of ugly exploitation/appropriation that gets Vampire Weekend bad write-ups. The Ex, of course, still has doomsday politics well intact: "Do you still watch a flat TV?/ Do you still listen to MP3s/ Well, no one has computers anymore/ Because cold, cold weather is back!" The Ex is the sort of band that can sing it, chant it, or shout it, and you just know that it's right. And, in some form, the band will be rattling the dull world's cage until cold weather is, indeed, back.’’ Recorded March 22-24 2010 at Electrical Audio, Chicago, USA by Steve Albini. Mixed in Amsterdam in Andy's room by The Ex. Mastered at Chicago Mastering Service by Bob Weston (EX Records)
  • Remastered and reisssued on Anti. Blue Valentine (1978) is a big departure from earlier Waits albums. Trading the piano for the guitar, Waits is getting rawer and bluesier and the title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s Somewhere, and the beautiful piano ballad, Kentucky Ave., but you also get the juke joint swagger of Romeo Is Bleeding and Whistlin’ Past the Graveyard. This is also the record that contains one of Waits’ most popular songs ever, Christmas Card from A Hooker in Minneapolis. LP - 180 Gram Black Vinyl housed in Gatefold Sleeve with Download. (Epitaph Records)
  • PORTISHEAD | dummy | LP

    21.00 incl. tax
    Portishead are an English band formed in 1991 in Bristol. They are often considered one of the pioneers of trip hop music. The band is named after the nearby town of the same name, eight miles west of Bristol, along the coast. Portishead consists of Geoff Barrow, Beth Gibbons and Adrian Utley, while sometimes citing a fourth member, Dave McDonald, an engineer on their first records. Their debut album, Dummy, was met with critical acclaim in 1994, quickly becoming a landmark album in the trip hop genre. Two other studio albums have been issued: Portishead in 1997 and Third in 2008, both of which received similar acclaim. In 1998, the band released a concert album, Roseland NYC Live. (Go! Beat)
  • Out of stock

    DANZIG | danzig 4 | 2xLP

    21.00 incl. tax
    Danzig 4, also titled Danzig 4P, is the fourth studio album by American heavy metal band Danzig. Released in 1994, it was the band's final album on American Recordings, and the last to feature the original lineup of John Christ (guitar), Eerie Von (bass), and Chuck Biscuits (drums). Danzig 4 followed 1993's highly successful Thrall: Demonsweatlive EP and singer Glenn Danzig's 1992 instrumental solo effort, Black Aria. (Def American Recordings/Unofficial Release)
  • Kid Is Gone is the unquiet portrait of primal Unwound. Before 1993’s Fake Train ripped through, they’d been Giant Henry, Supertanker, and Cygnus X-1, short-lived black holes gathering dark material into something built to explode. From Justin Trosper, Vern Rumsey, and Brandt Sandeno’s first restive years, “Crab Nebula” might’ve best prepared the indie-sphere for what Unwound became, had Sandeno’s split not stalled their planned debut. Part 1 in Numero’s 4-part reissue project, Kid Is Gone documents signal chaos in Olympia’s fertile scene before Unwound’s turbulent noise hit stride, in unrevealed period photos, 34 tracks, and three LPs—cassette-only demos, early 7”s, a KAOS radio broadcast, material tracked live in a local basement, and all of what became 1994’s Unwound, on which the band’s prehistory plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise. First in a series of four box sets compiling all of Unwounds recordings. The 3LP box is a limited edition of 4000 copies worldwide. A1 to A7 issued 1991 on Unwound cassette (self-released) B1 to B3 issued 1992* on Caterpillar 7" (KRS-203*) B4 issued 1991 on Kill Rock Stars compilation LP/CD (KRS-201) C1 to D5 issued 1995 on Unwound CD (HB-07) and LP (PNMV-06) D6 and D7 previously unissued. E1 to F5 previously unissued. A1 to A7 recorded at Yoyo Studio/Capitol Theater, Olympia, Washington October 13-14, 1991. Remixed at Neanderhall Recording Studio, February 3-5, 2013. B1 to B3 recorded at Avast! Studio, Seattle, Washington, February 15-16, 1992. B4 recorded at The Mushroom, Olympia, Washington, July 22, 1991. C1 to D7 recorded at Avast! Studio, Seattle, Washington May 29-31, 1992. E1 to E5 recorded at KAOS, March 30, 1992. F1 to F5 recorded live in Damon's basement, May 16, 1992. (Numero Group Records)
  • Out of stock

    UNWOUND | fake train | LP

    21.00 incl. tax
    After the Pacific Northwest grunge raids of the early ’90s that saw Nirvana, Mudhoney, and even the Melvins hoisted up the major label flagpole, Unwound’s 1993 debut came as a welcomed reprieve for underground noise-niks everywhere. A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault. (Numero Group Records)
  • Out of stock
    An album Maximum Rock 'N' Roll deemed not punk enough to review, Unwound's 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of "Entirely Different Matters" to the neck-snapping velocity of "What Was Wound" to the relentless pounding at the end of "All Souls Day," New Plastic Ideas is the Sonic Youth-loving older sister to Fake Train's post-punk-obsessed little brother. (Numero Group Records)
  • BIG BLACK | bulldozer | LP

    18.00 incl. tax
    Originally released in 1983 in limited edition galvanized metal album jackets on Fever 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 and a 24" x 36" poster insert. (Touch And Go Records)
  • BIG BLACK | racer x | LP

    17.00 incl. tax
    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)
  • Out of stock

    DAVID BOWIE | heroes | LP

    19.00 incl. tax
    2018 Remastered Version. The first of Bowie's legendary Berlin trilogy and the one that broke the most ground. It also caused so much consternation in the NME offices that they ran two reviews, one praising it to the skies, the other bewildered by Bowie's move towards the chilly electronic sounds that bore the influence of krautrock, particularly that of Kraftwerk and Neu! Collaborating with Brian Eno and produced by the genius Tony Digitally remastered edition. Heroes is the twelfth studio album by the iconic singer/songwriter, originally released on RCA Records in October 1977. The second installment of his Berlin Trilogy recorded with Brian Eno and Tony Visconti, Heroes continued the ambient experiments of Bowie's previous album Low (released earlier that year) and featured the contributions of King Crimson guitarist Robert Fripp. Of the three albums, it was the only one wholly recorded in Berlin. Recorded at Hansa Tonstudio in what was then West Berlin, Heroes reflected the zeitgeist of the Cold War, symbolized by the divided city. Co-producer Tony Visconti considered it "one of my last great adventures in making albums. (Parlophone Records)
  • Out of stock
    Of their live albums A Part of America Therein 1981 is one of the band's best. Recorded in Chicago, New York and San Francisco, the band appear on top form with Mark E Smith in full vitriolic flow. The album shows the group performing several songs that had not yet been released; three songs from 1982's Hex Enduction Hour are present as is Lie Dream Of A Casino Soul recorded as a single following the tour's completion. Live recordings from US tour, 1981. A1, B1 - Chicago B2, B3 - New York C1 - San Francisco C2, D1 - Houston D2 - Memphis (Let Them Eat Vinyl Records)
  • The post-hardcore band Orange 9mm released their debut studio album Driver not Included in 1995. Listeners will get excited about their East Coast hardcore with flashes of metal and funk. This album rocks hard, but slows down to give the listener a break from all their energy and raw power. "High Speed Changer" and "Cutting and Draining" are two outstanding tracks. With the forceful choruses and intensive bass riffs they're giving you just a quick moment to catch some breath, before the band's moving on to the next song. It definitely deserves a place among the list of important '90s hardcore releases. Driver not Included is available as a limited edition of 1000 individually numbered copies on flame coloured (yellow & orange) vinyl. 180 gram audiophile vinyl Including insert Limited edition of 1000 individually numbered copies on flame coloured (yellow & orange mixed) vinyl (Music On Vinyl Records)
  • Out of stock
    Psalm 69: The Way to Succeed and the Way to Suck Eggs (or as simply referred to as Psalm 69) is the common title for the fifth studio album by industrial metal band Ministry, released in 1992 on Sire Records. The actual title of the album is ΚΕΦΑΛΗΞΘ, which is made up of κεφαλή (kephal), a Greek word meaning "head", and ΞΘ, the number 69 in Greek numerals. The title Psalm 69 is used for simplicity's sake. The album gave Ministry a more mainstream audience, with the track "Jesus Built My Hotrod" receiving major airplay on MTV and various other music stations. Psalm 69 also marked Ministry's first release with guitarist Mike Scaccia, who was recruited by band frontman and founder Al Jourgensen in 1989. Sealed brand new 180 gram vinyl, issued with a printed inner sleeve with credits. (Sire Records/Rhino Records/2011)
  • Η Β-otherSide Records με χαρά παρουσιάζει την κυκλοφορία του ορχηστρικού άλμπουμ των Διάφανων Κρίνων "Ο γύρος της μέρας σε ογδόντα κόσμους" για πρώτη φορά σε διπλό βινύλιο. Το άλμπουμ κυκλοφόρησε το 2005 σε μορφή Βιβλιό-cd, περιλαμβάνοντας εκτός από τις 11 συνθέσεις, ένα βιβλίο 150 σελίδων με στίχους, προσωπικές καταθέσεις των μελών και πρωτότυπα σχέδια του Θάνου Ανεστόπουλου. Στο 5ο άλμπουμ των Διάφανων Κρίνων, ο ήχος έχει αποκρυσταλλωθεί σε post-rock μονοπάτια τα οποία αναδεικνύουν τις εκτελεστικές δυνατότητες της μπάντας. (B-otherside Records/Mr.Vinylio)
  • M.D.C. finally goes acoustic: the hardcore punk legend around DAVE DICTOR records their classics as "Millions Of Dead Cowboys" in a completely new guise. LP in a 350 gram cardboard cover with printed inlay and download code on Twisted Chords. While every second US punk rock singer feels like he has armed himself with a check shirt and acoustic guitar in the past 15 years and tries to shine ambitiously in the fields of country, folk and Americana, things are a little different with MIKE SMITH and DAVID DICTOR. Although the twelve selected songs were recorded almost continuously acoustically or at least with an undistorted guitar, iconic classics such as "John Wayne Was A Nazi", "Corporate Deathburger" and "Nazis Shouldn't Drive" not only retain their entirety due to the unmistakable singer own flair. So M.D.C. unplugged a kind of acoustic "radical rock" rather than arriving in the Nashville canon, steel guitar, violin or banjo was deliberately avoided. The songs are calm, catchy and profound - not a genre homage, but a completely unique version of themselves. From personal stories from a turbulent life to the biting self-defense against American realities, the band's smashers work perfectly even in the reduced setup. (Twisted Chords Records) https://twistedchords.bandcamp.com/album/tc187-mdc-millions-of-dead-cowboys
  • Out of stock
    The fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in October 2000, Stories From The City, Stories From The Sea features the singles Good Fortune, A Place Called Home and This Is Love and includes a duet with Radiohead's Thom Yorke on This Mess We're In.. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of long-time PJ Harvey producer Head. (Island Records, 2021)
  • 'Push the sky away' is the fifteenth studio album by nick cave and the bad seeds. at the heart of 'push the sky away' is a naturalism and warmth that makes it the most subtly beautiful of all the bad seeds albums. the contemporary settings of myths, and the cultural references that have time-stamped nick's songs of the twenty-first century mist lightly through details drawn from the life he observed around his seaside home, through the tall windows on the album's mysterious and ambiguous cover. 'push the sky away' has a clarity and sweet strangeness that's built upon the refusal to accept limitations, whether they be the traditional uses and sounds of musical instruments, lyric styles, or diminished spiritual horizons. Printed inner sleeve with lyrics. Contains code for digital mp3 album download. (Bad Seed Ltd.)
  • Pelican, the instrumental quartet whose singular vision of heavy music eschews classification, are set to release their first new music in almost six years. Channeling the visceral bombast of their live shows, “Midnight and Mescaline” is an unrelenting riff marathon, careening from bombastic heaviness to metal-infused fretboard frenetics to cathartic melody in under five minutes. Paired with b-side “Darkness on the Stairs”*** the new release taps into the band member’s shared roots in the late 90s DIY music scene, exuding an undeniably punk intensity and propensity for impassioned ferocity. ***contains unreleased track: “Darkness on the Stairs” Tracklist A Midnight And Mescaline 4:56 B Darkness On The Stairs 4:48 (Southern Lord Records)
  • 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)
  • Live From Shepherd's Bush Empire, London 2007. Tracklist: 1A Addicted 2A Just Friends 3A Cherry 4A Back To Black 5A Tears Dry On Their Own 6A Fuck Me Pumps 7A Love Is A Losing Game 1B Valerie 2B Poor Little Rich Girl 3B Rehab 4B You Know I'm No Good 5B Me & Mr. Jones 6B Monkey Man (Unoficial Release)  
  • DANZIG | danzig | LP

    17.00 incl. tax
    Re-issue of the first Us pressing without the Danzig logo on cover. Danzig debuts with a record of simple, pounding, bluesy metal featuring lead singer Glenn Danzig’s trademark Elvis-meets-Jim Morrison bellow and outlandishly dark, evil lyrics. There isn’t a great deal of musical variety or complexity here, but the band powers its way through such signature tunes as Twist of Cain, Am I Demon, and the (future) hit Mother with a primal energy. Plus, Danzig’s tongue-in-cheek posturing as the ultimate unholier-than-thou heavy metal frontman gives the record a definite appeal, even if one is not inclined to view his theatrics as dangerous or threatening. With James Hetfield from Metallica on backing vocals. (Def American Recordings/Unofficial Release)
  • Back in stock
    Including the first ever versions of songs like: Twist Of Cain, Am I Demon?, Possession and others. 9 anthems recovered from long lost tapes (not available anywhere else before) that gave birth to a record that is considered one of the best Metal albums of all time. The lost demos from Glen Danzig's pre-self-titled debut album in 1987. The first sketches and fully developed songs of some of the more remarkable classics in Danzig's career. This Release came in a least 4 different colors of vinyl. This is the Red Vinyl. Τracklist A1     Twist Of Cain A2     Feel It (Am I Demon?) A3     Possession A4     When Death Had No Name (Mortal Sin) B1     Trouble (I'm Evil) (Elvis Presley Cover) B2     Waiting On The Summer (Soul On Fire) B3     Die For The Demon (Night Of Hate) B4     Chaos (Descent) B5     Trouble (I'm Evil) v.2 (Yellow Dog Records/Unofficial)
  • 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. And
    I’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)
  • ‘Pandemonium’ – originally released in 1984 and partially recorded inside the Great Pyramid of Giza, this is KJ’s biggest-selling album to date. The Re-issued double LP version – featuring new cover artwork from designer Mike Coles – stays true to the original track-listing, with both of the celebrated Cybersank Re-mixes for ‘Pandemonium’ & ‘Millennium’ included. (Spinefarm Records)