• ‘‘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)
  • Two blinking new tracks by The Ex: direct, urgent, wilful and joyfully obstinate. Recorded in the rehearsal room in three hours and mixed in two: fat -free and no words wasted. “How Thick You Think” is inspired by the short film “Neighbours” (Norman McLaren, 1952). The story is a parable about two people who come to blows over the possession of a flower. The sentence "I think food with music means peace" comes from a painting by Lucebert. “That's Not A Virus” builds on a typical Ex beat: a melodic and unique rhythm, freshly pulled out of the Dutch clay, sounding as if it already exists for 2000 years. The lyrics work like a crack in the wall through which you look at the space between people; what people reveal of themselves, show to each other and the categorical insecurity that comes with it. Recorded at the Jottem! Studio in Wormerveer, November 27, 2013. (EX Records)
  • 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)
  • Get Behind Me Satan is the fifth studio album by American alternative rock band The White Stripes, released on June 7, 2005, on V2 Records. Though still basic in production style, the album marked a distinct change from its guitar-heavy 2003 predecessor, Elephant. (XL Recordings/Unofficial)
  • 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)
  • 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)
  • 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
    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)
  • Follow up to the critically acclaimed and mighty successful first volume. • A Nuggets, Pebbles or Killed By Death-series for the NWOBHM-genre • Ten tracks culled from hard to find and highly collectable vinul releases • Carefully restored and remastered sound • Extensive liner notes by Kieron Tyler (Mojo Magazine) • Deluxe gatefold sleeve • Ilustrated with photos from bandmembers’ private photoalbums The second volume of Jobcentre Rejects is here. Prepare yourself for a NWOBHM fest beyond control. Ten tracks licensed from rare and hard to find New Wave Of British Heavy Metal records originally released in England 1980-1985. Kind of a Nuggets, Pebbles or Killed By Death for NWOBHM. Set the volume control to maximum level and knock yourself out with obscure but brilliant sounds from bands like Omen Searcher, Bashful Alley, Sapphire and Panza Division. File under: ”beyond essential listening for any rock’n’roll fan”. When putting together the first volume of Jobcentre Rejects (and for that reason started On The Dole Records) we initially thought it would be a thing of interest only to a few of our closest music loving and record buying friends. But sales took off in a massive way and rave reviews and orders from all over the world quickly made being On The Dole Records a full time job. There’s enough totally great and rare NWOBHM for many further volumes of Jobcentre Rejects. There’s so many great tracks just waiting to be heard by more people. Jobcentre Rejects Vol 2 will appeal to all metal fans, but also to punk fanatics, garagerock-maniacs, DIY-lovers and maybe even to a few powerpop afficionados. Jobcentre Rejects is for everyone into rock music history and anyone interested in British music- and culture history. Iron Maiden, Def Leppard, Judas Priest and Saxon all got signed by majors and sold records galore, meanwhile bands in every village across England formed. Inspired by the energy and DIY attitude of the punk scene these acts recorded and released their records all on thieir own. The music heard on Jobcentre Rejects Vol 2 have so far been treasured only by NWOBHM connoisseurs. Jobcentre Rejects Vol 2 clearly shows that it is music far too good to be buried in the past. It’s music that deserve to be heard not only by the most die hard record collectors. Remastered and restored sound. Extensive liner notes by Kieron Tyler (Mojo Magazine). Richly illustrated with many rare photos (On The Dole Records)
  • 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)
  • Out of stock
    The Cranberries – Dolores O’Riordan, Noel Hogan, Michael Hogan and Fergal Lawler – quietly became one of the world’s most successful bands in the 1990s. With O’Riordan’s remarkable voice and their unforgettable melodies, the group scored a string of UK and US Top 10 albums and singles. This stunning collection brings together 11 of their best-known tracks, including their unforgettable calling cards, Linger and Zombie. This compilation brings to vinyl the incredibly successful CD title which has so far sold over 100k units in the UK alone. Side A 1 Linger 2 Dreams 3 When You’re Gone 4 Dreaming My Dreams 5 Ridiculous Thoughts Side B 1 Zombie 2 Just My Imagination 3 Analyse 4 Promises 5 I Can’t Be With You 6 Salvation (Spectrum Records)