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Too Young To Be In LoveToo Young To Be In Love is the first fully-realized Hunx and His Punx album, and the groups first for Hardly Art. It was recorded in New York City by Ivan Julian, one of the founding members of inimitable NYC punk legends Richard Hell and the Voidoids. This record was made in the same studio that one of Hunx's idols, Ronnie Spector, once recorded in. While it is preceded by the Gay Singles LP (True Panther Sounds/Matador Records, 2009), a collection of hard-to-find and out-of-print 7 singles, Too Young To Be In Love is the first proper studio record from Hunx and His Punx.
Too Young To Be In Love also marks the first time the group has ever been comprised entirely by punkettes, another name for the all girl band that band leader Seth Bogart (aka Hunx) always dreamed of. Shannon Shaw (of Shannon and the Clams) plays bass, and wrote three of the albums songs. Her powerful voice on Lovers Lane and The Curse of Being Young crackles and breaks with a raw ferocity that perfectly compliments Hunxs swoon-worthy nasal croon. This album also represents a distinct reversal of roles, the all-girl quartet (Shaw, plus guitarist Michelle Santamaria, drummer Erin Emslie, and Amy Blaustein on guitar/organ) bring the fire, while Hunx brings the sugar. All of the ladies sing on this album, and their voices combine to create some modern Wall of Sound magic.
Hunx and His Punx might be the first ever girl group fronted by a flamboyant gay male whose dream in life is to sound like a girl. They have created a unique new sound they refer to as Young Oldies, a mixture of '50s teenage rock n roll, '60s girl groups and bubblegum pop.
I only write songs out of heartbreak, says Hunx of the new record. Older songs focused on trashier homoerotic topics like cruising and boyfriend stealing. But Too Young To Be In Love is all about love and heartbreak. People tend to have scandalous ideas about Seth Hunx Bogart. This can happen when you try to French kiss the entire front row at one of your shows, pose for photographs nude or bare everything in the video for Lust For Life by the band Girls. But behind all of this is a sweet and somewhat innocent entertainer who knows how to put on a show.1. Lovers Lane
2. Hes Coming Back
3. Keep Away From Johnny
4. The Curse of Being Young
5. Too Young To Be In Love
6. If Youre Not Here (I Dont Know Where You Are)
7. Bad Boy
8. Tonite Tonite
9. Can We Get Together?
10. Blow Me Away$13.99Vinyl LP - Sealed Buy Now
Quazarz vs. The Jealous MachinesQuazarz vs. the Jealous Machines is one of two new albums by interstellar hip-hop enigma Shabazz Palaces, aka Ishmael Butler (who, in another galaxy, performs in Digable Planets) and Tendai Maraire. Quazarz vs. the Jealous Machines, and its companion, Quazarz: Born On a Gangster Star, were both produced by Knife Knights (i.b e.b.) and mixed by Blood.
Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.
The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.
On Quazarz when they look at this place they see the inhabitants, the humans, but they don't assess as we do. And so Quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.
Coming from a simpler, more essential, innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth. The machines-he noted-though at the behest of their master's voice, are scorned, and jealous as all hell.
And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that-it should be noted-to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.1. Welcome to Quazarz
2. Gorgeous Sleeper Cell
3. Self-Made Follownaire
6. Julian's Dream (ode to a bad)
7. 30 Clip Extension
8. Love in the time of Kanye
9. Sabonim in the Saab on 'em
10. The SS Quintessence
11. Late night phone calls
12. Quazarz on 23rd$19.99Vinyl LP - Sealed Buy Now
NoctilucaDunes are a mysteriously ethereal and minimal trio from Los Angeles, CA. Appropriating pop and experimental music into a familiar swirl, while retaining a fresh outlook and approach, Dunes inhabit a space of tweaking, twisting, imagining moments and emotions from the past, destined to end up as their future. Stephanie Chan, formerly of Austin, TX bands Finally Punk, and The Carrots plays guitar and sings in Dunes, she creates surreal and dreamy narratives with her lyrics and uniquely beautiful, powerful voice. Mark Greshowak (Talbot Tagara) plays baritone guitar and sometimes bass, weaving melodies back and forth with Stephanie, making lush tones in the process. Kate Hall, played drums in Mika Miko before holding down the rhythmic duties and also singing for Dunes.
Having released a 12 EP on Mexican Summer, two 7 EP's, one on Los Angeles label Teenage Teerdrops, the other on San Diego's Art Fag and a tape on Ooga Booga, Dunes are primed to release their full length. These undoubtedly great pop songs sink in further as you listen, the perfect blend of three musicians experimenting towards the common goal.
Featuring 11-tracks, Noctiluca is a well thought out record, moments can bring you to the crafty and whimsical pop of The Cocteau Twins, while staying stripped down to feel as though it may be through the lens of Richard Hell, or as anxious as R. Stevie Moor. Post-punk, post-pop music played and interpreted by three great players who hold nothing back.1. Jukebox
2. Lonely Palm
3. Vertical Walk
4. Red Gold
5. Living Comfortably
9. The Spark
10. Minnow & The Machine
11. Tied Together$16.99Vinyl LP - Sealed Buy Now
So Long, Astoria (Awaiting Repress)With a handful of indie releases and a few hectic years of touring under their belts, this release marks the Ataris big-label bow. And if the concept uniting it is an ode to the power of memory--a conceit attributed to Richard Hell, but one that ironically might as well have originated with the likes of Billy Joel--Kris Roe and company blitz their way through it with kinetic power and hooks to spare. But therein lies the rub: Fans will find this an album rife with positive energy, bright, well-constructed songs, and upbeat deliveries (if sometimes in service of awkward intellectual pretensions like Unopened Letter to the World's parallels between Kurt Cobain and no less than Emily Dickinson); cynics may hear at as further evidence that punk and alternative rock have been co-opted in service of formulas as well-honed--and rigid--as anything the dreaded Corp Rock '80s ever yielded. Still, if play-it-to-the-back-rows, unabashed power-pop is what the Ataris were after here, they've delivered it with nigh perfection, right down to a slick, pumped up cover of Don Henley's classic-rock warhorse The Boys of Summer. --Jerry McCulley1. So Long, Astoria
2. Takeoffs And Landings
3. In This Diary
4. My Reply
5. Unopened Letter To The World
6. The Saddest Song
7. Summer '79
8. The Hero Dies In This One
9. All You Can Ever Learn Is What You Already Know
10. The Boys Of Summer
11. Radio #2
12. Looking Back On Today
13. Eight Of Nine$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Awaiting Repress)
Includes Detailed Artwork And Two Essays By Leon
Craig Leon's seminal synthesizer albums Nommos and Visiting are finally re-editioned in
definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.'s archival
Issued respectively by John Fahey's Takoma record label in 1980 and Leon's Arbitor
private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard
Craig Leon. Leon's production was pivotal in realizing the debut recordings by Ramones,
Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound,
Leon's own debut album was arguably, if not literally, more alien.
In 1973 , the Brooklyn Museum hosted a comprehensive collection of sculptures by the
Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections
of a visit from an extraterrestrial species they named Nommos. Years after experiencing the
exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their
home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was
presented and a challenge in place: what would music sound like if handed down from an
ancient alien species? And how best to imagine it?
Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to
employ the latest and greatest synthesizer technology available. An avant empathist and
eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint.
After a secluded week in an Austin, Texas studio with his partner, wife and collaborator
Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the
Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms
programmed on a prototype of Roger Linn's nascent drum-machine, the LM-1.
Issued by Fahey with zero expectation of the same radio airplay Leon accomplished
with his pop productions, Nommos now stands as an innovative example of cosmic-synth
composition that wasn't made for its time or any other. For this edition, Leon has in fact
re-animated Nommos by re-recording the exact audio signals as preserved in the album's
original studio notes. Every patch, tape-delay speed and outboard setting was transcribed
as first scored, materializing the best possible audio from an album whose masters were lost
in major label merger milieu years ago.
Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title
suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The
album is in equal measure more improvisatory and constructed than its predecessor. Both
albums were intended to be listened to as a set in the first volume of Leon's Anthology of
Interplanetary Folk Music (the title was an homage to Harry Smith's influential collection of
folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and
compositional additions to both albums to enhance the connectivity and encourage infinite
While reissues and bootlegs have appeared to relieve the demand for these records,
this collection will stand as the first ever version authorized by Craig Leon himself. The
vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by
Leon. The first tells the complete story of the stargazing Dogon people and their prescient
understanding of cosmology. The second details Leon's adventure in creating the Anthology
of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one
seamless synth classic.1. Ring With Three Concentric Discs
2. Donkeys Bearing Cups
4. Four Eyes To See The Afterlife
5. She Wears A Hemispherical Skullcap
6. One Hundred Steps
7. Region of Fleeing Civilians
8. Three Small Coins
10. Details Suggest Fidelity To Fact
11. The Customs of the Age Disturbed$29.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Brothers and Sisters of the Eternal SonDamien is out of his goddamn mind.
This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
rural psyche. Well, folks,I'm sorry, but it's not.
Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
religion is a character in his religion.
Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.
Consider this:What if the only way to understand a religion is to create your own?
Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
give you a second.
Do you understand the music any better?
You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
Gawd something to do.
Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.
Jesus is out of his goddamn mind and I want to live in Damien's America.
Sign me up.
--- Father John Misty; 09-20-20131. Magic Number
2. Silver Timothy
3. Return To Maraqopa
4. Metallic Cloud
5. Jericho Road
6. Silver Donna
7. Silver Malcolm
8. Silver Katherine
9. Silver Joy
10. Suns In Our Mind$16.99Vinyl LP - Sealed Buy Now
The Rocky Horror Picture Show Soundtrack (Out Of Stock)
Back In Print On Red Vinyl
For the 1975 film version of The Rocky Horror Picture Show, American producer Lou Adler wisely mixed the best of the London and Los Angeles stage versions, shooting the movie in England with Tim Curry and several of the other original cast members, plus Meatloaf (years before Bat Out of Hell), and Americans Barry Bostwick and Susan Sarandon as the innocent couple Brad and Janet. Adler also brought back original London stage musicians in place of the slick studio musicians who had marred the L.A. cast album. The film version resequenced the songs and reassigned some of the vocals, with Brad's song Once in a While dropped. But it all worked out fine. The strings that were added to ballads like Science Fiction/Double Feature only improved them; the rockers rocked out; Bostwick and Sarandon proved to be the best Brad and Janet ever; the original cast members, especially Curry, reveled in the opportunity to immortalize their portrayals; and Rocky Horror's potential as a witty parody of cheap movies, rock & roll, and sexual mores was fully realized. The film soundtrack album became the definitive version of the score, despite lacking the songs Planet Shmanet Janet and The Sword of Damocles. The Rocky Horror Picture Show was not successful in its initial theatrical run, but then a strange thing happened. In 1976, the Waverly Theater in New York's Greenwich Village began showing the film at midnight on Fridays and Saturdays. Soon, a cult of repeat viewers began turning up every week; they began to dress like the characters, call out their own comments at strategic moments, sing along, and add their own theatrical effects. The phenomenon spread across the U.S., with fans rivaling Trekkies and Deadheads for loyalty and eccentricity, and The Rocky Horror Picture Show took on a life Richard O'Brien never could have anticipated.
- William Ruhlmann (All Music Guide)1. Science Fiction/Double Feature
2. Dammit Janet
3. Over at the Frankenstein Place
4. Time Warp
5. Sweet Transvestite
6. I Can Make You a Man
7. Hot Patootie - Bless My Soul
8. I Can Make You a Man (Reprise)
9. Touch-A, Touch-A, Touch Me
11. Rose Tint My World
12. I'm Going Home
13. Super Heroes
14. Science Fiction/Double Feature (Reprise)$16.99Colored Vinyl LP - Sealed Temporarily out of stock