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  • Destroy All Music Destroy All Music Quick View

    $14.99
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    Destroy All Music

    Back In Print On Green Vinyl


    When original LA punks the Weirdos recorded Destroy All Music (their debut EP) on the day Elvis died, it must have sounded like a threat to western civilisation. Thirty years later, gathered here along with various demos and a 1979 EP, it's less revolutionary, but remains a blast. It's like a fusion of the Clash and the Ramones, fronted by a vocalist several sheets to the wind. The Weirdos failed to secure a major deal, presumably because of John Denney's berserk intensity. The rawness gives these historic recordings a punk edge. It's difficult to deny the nihilistic glory of the title track, in which Denney proclaims: I want to kick in the radio, bomb the record store. Outrageous.

    1 Teenage [Demo]
    2 Destroy All Music [Demo]
    3 Life of Crime [Demo], A
    4 Why Do You Exist? [Demo]
    5 Destroy All Music
    6 Life of Crime, A
    7 Why Do You Exist?
    8 Happy People
    9 Big Shot
    10 Jungle Rock
    11 Hit Man
    12 Idle Life
    13 For U.S.A.
    Weirdos, The
    $14.99
    Colored Vinyl LP - Sealed Buy Now
  • Weirdo Rippers Weirdo Rippers Quick View

    $20.99
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    Weirdo Rippers


    First US vinyl pressing of their seminal debut for FatCat


    "Despite an overload of music these days, if often feels like there are fewer essential listens.
    At the end of Weirdo Rippers, you're left with a rare sense of having discovered something
    new." 8.0/10 - Pitchfork


    "Weirdo Rippers created an entire world within an album....so obviously a Los Angeles
    record. From the ambient guitar scratch on "Loosen This Job" to the plaintive field
    recording of waves on "Every Artist Needs a Tragedy" to the defiant, almost snotty "Boy
    Void," which sounded like it was recorded from inside a crusty cardboard box, the Los
    Angeles that No Age were writing was all warehouses, skating at sunset and unpretentious
    unity."- Stereogum


    Shimmering shoegaze pop and glowering punk collide and burst into flames on this
    delightfully rude debut. Surging waves of frayed yet beautiful electronica give way to urgent
    rants, with voices buried in the mix like distant cries for help. - SPIN


    By now the two young heavyweights
    from the LA Skate / Art /
    Punk underworld, No Age, are a
    well-known and established part
    of the indie pantheon. But back
    in 2007 Dean Spunt and Randy
    Randall were just building quite a
    bit of noise in the wake of the
    demise of their previous band
    Wives.


    After working out their sound in
    the LA scene revolving around
    the now fabled venue The Smell
    (pictured on the cover of Weirdo
    Rippers) they decided to release
    five ltd. vinyl only releases on a
    variety of DIY indie labels across
    the globe on the same day (namely
    UTR, Deleted Art, Teardrops, Youth Attack, and Dean's own PPM label). Designed by
    Brian Roettinger, Randall and Spunt, the back of each record's sleeve was a different
    color, and had one of the letters that, when you collected all of them, would join to spell
    No Age. Their debut LP release for FatCat, 'Weirdo Rippers', was a collection of
    recorded highlights taken from the aforementioned releases. At the time it was readily
    available on CD and has since found a home digitally but it's not found its way back to the
    vinyl format that first gave many of these tracks life. Now we're presenting the first
    domestically available version of 'Weirdo Rippers' pressed to vinyl; an utterly essential
    piece of No Age's past.

    1. Every Artist Needs A Tragedy
    2. Boy Void
    3. I Wanna Sleep
    4. My LIfe's Alright Without You
    5. Everybody's Down
    6. Sun Spots
    7. Loosen This Job
    8. Neck Escaper
    9. Dead Plane
    10. Semi-Sorted
    11. Escarpment
    No Age
    $20.99
    Vinyl LP - Sealed Buy Now
  • Weirdo Shrine Weirdo Shrine Quick View

    $15.99
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    Weirdo Shrine

    For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music's ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland's guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves. When it came time to record Weirdo Shrine, their second album-due out August 7th-the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland's newly fuzzed-up guitar solos-which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country-were juxtaposed against the group's most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on "You Disappear" and "Oranges," and sought inspiration from Charles Burns' Seattle-set graphic novel Black Hole. The resulting album is a natural evolution of the band's self-styled "surf noir" sound-a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows." In describing Weirdo Shrine, Segall remarked that it gave him a vision of a "world burning with colors [he'd] never seen, like mauve that is living." In "Oranges," the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal "orange wind / that glows from your footsteps." These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.
    1. Sleep Till They Die
    2. You Disappear
    3. With Davey
    4. Don't Wanna Be Anywhere
    5. I Can't Speak
    6. Hey Papi
    7. I Wanna Be Alone (With You)
    8. I'll Be True
    9. Black Hole, Weirdo Shrine
    10. Oranges
    11. True Love Knows
    La Luz
    $15.99
    Vinyl LP - Sealed Buy Now
  • Live At The House Of Blues Live At The House Of Blues Quick View

    $24.99
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    Live At The House Of Blues


    Classic Double Live Record Finally Released On Vinyl For The Very First Time!


    2 LP Set Gatefold Release


    Originally An Only DVD Release From 2004


    Features All Of Their Classics, Plus Covers From The Weirdos And Black Flag!


    First time on vinyl. This Double LP with gatefold jacket is the audio release of The Circle Jerks Live at The House of Blues. In 2004, the Circle Jerks shot
    a live concert DVD as part of Kung-Fu Records' live DVD series The Show Must Go Off!, in which the band played songs from all six of their studio
    albums, plus - in nods to Schloss' other current band and Morris' salad days, respectively - covers of The Weirdos' Solitary Confinement and Black
    Flag's Nervous Breakdown.

    LP 1
    1. Letter Bomb
    2. In Your Eyes
    3. Stars and Stripes
    4. All Wound Up
    5. I Don't
    6. Back Against The Wall
    7. Behind The Door
    8. I Just Want Some Skank
    9. Beverly Hills
    10. Anxious Boy
    11. I, I and I
    12. Paid Vacation
    13. Deny Everything
    14. I Wanna Destroy You


    LP 2
    1. The Crowd
    2. Beat Me Senseless
    3. Wild In The Streets
    4. Trapped
    5. C'oup d'etat
    6. Fortunate Son
    7. Shit Hits The Fan
    8. Operation
    9. Junk Mail
    10. World Up My Ass
    11. Solitary Confinement
    12. Wasted
    13. Red Tape
    14. Nervous Breakdown

    Circle Jerks
    $24.99
    Vinyl LP - Sealed Buy Now
  • Twin-Hand Movement Twin-Hand Movement Quick View

    $19.99
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    Twin-Hand Movement

    Twin-Hand Movement is Lower Dens' brilliant 2010 debut album! It is eleven perfect songs long. Filled with swarming guitar fuzz, bass waves, insistent drum throbs and Jana Hunter's charred voice. The album truly reflects the musicians and the city they call home, Baltimore, to the core: survivalist paranoia and rolling waves of droning rhythm crafted together methodically and beautifully into proud, catchy, weirdo anthems.
    1. Blue & Silver
    2. Tea Lights
    3. A Dog's Dick
    4. Holy Water
    5. I Get Nervous
    6. Completely Golden
    7. Plastic & Powder
    8. Rosie
    9. Truss Me
    10. Hospice Gates
    11. Two Cocks
    Lower Dens
    $19.99
    Vinyl LP - Sealed Buy Now
  • Live at XX Merge Live at XX Merge Quick View

    $19.99
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    Live at XX Merge

    First Time Pressed To Vinyl


    "The results are in and it's unanimous -- Lambchop stole the show at XX Merge." -- WASHINGTON POST


    "..the Nashville weirdos have never gotten the popular attention they've long deserved. Friday night, they won the capacity crowd at the Cradle forever. It was a revelatory
    moment, suggesting that we've got five years from right now to reconsider Lambchop." -- PITCHFORK


    "It truly was a performance for the ages." -- AQUARIUM DRUNKARD


    As Merge fans know, Lambchop has been on the label since 1993, releasing a string of widely varied but consistently brilliant records. But the live Lambchop experience has been somewhat elusive in the U.S. While the band has toured the gilded theaters of Europe and elsewhere for nearly two decades, the Nashville group has seldom toured their home country. To help celebrate Merge's 20th Anniversary the band showed up in one of their largest lineups in recent memory -- 11-strong, including multiple
    guitars, keyboards, piano, and a horn section. By the end of their set, everyone in the packed Cats Cradle - band and audience both - was levitating a few inches off the ground.


    Lambchop's set at XX Merge was professionally recorded and filmed, and is available now on vinyl for those who missed it, or for those who want to go back again.

    1. Introduction (Jon Wurster)
    2. I Will Drive Slowly
    3. The New Cobweb Summer
    4. Grumpus
    5. Sharing a Gibson With Martin Luther King Jr.
    6. What Else Could It Be?
    7. Joke (Tony Crow)
    8. National Talk Like a Pirate Day
    9. Hey, Where's Your Girl?
    10. Your Fucking Sunny Day
    11. Up With People
    12. Give It
    Lambchop
    $19.99
    Vinyl LP - Sealed Buy Now
  • Everything In Between Everything In Between Quick View

    $24.99
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    Everything In Between

    Vinyl LP + Book

    Since the release of Weirdo Rippers (2007), through Nouns (2008), and beyond, LA duo No Age has earned enthusiastic notice from Pitchfork to The New Yorker, and found themselves unlikely Grammy nominees. Everything In Between sees No Age expand on the emotional force at the core of their catchy song-writing through tone, structure, noise, and samples. They've pushed themselves in challenging and different directions, deconstructing their weird-out pop songs while still maintaining their original aesthetic and intent. And, it's their best record yet.

    1. Life Prowler
    2. Glitter
    3. Fever Dreaming
    4. Depletion
    5. Common Heat
    6. Skinned
    7. Katerpillar
    8. Valley Hump Crash
    9. Sorts
    10. Dusted
    11. Positive Amputation
    12. Shed and Transcend
    13. Chem Trails
    No Age
    $24.99
    Vinyl LP - Sealed Buy Now
  • Nothing Bad Will Ever Happen Nothing Bad Will Ever Happen Quick View

    $17.99
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    Nothing Bad Will Ever Happen

    Optimism is infectious, and there can be few more optimistic statements than the ttitle of the new album from Dignan Porch: Nothing Bad Will Ever Happen. As you listen to the warm-hearted, weirdo pop within, as you're drawn into their world, you might be inclined to agree with them. Nothing Bad Will Ever Happen is Dignan Porch's second album, though in many way it's their first. 2010's debut, Tendrils, was written and recorded a solo concern by singer Joe Walsh. Here, he's joined by the full band, comprising brother Sam Walsh plus close friends Ben Goodwin, Hayley Akins and Stephen Keane.
    1. Picking Up Dust
    2. Sad Shape
    3. She is Landing
    4. Darkness
    5. TV Shows
    6. Pink Oil
    7. Sleep With The Dead
    8. Never
    9. Sixteen Hits
    10. And Are Now Not
    11. Cancelled TV Shows
    12. Interlude
    13. You Win You Wine
    Dignan Porch
    $17.99
    Vinyl LP - Sealed Buy Now
  • Yoko and the Oh No's Yoko and the Oh No's Quick View

    $19.99
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    Yoko and the Oh No's

    Yoko & the Oh No's are three kids from Chicago - Max Goldstein on vocals, Max Loebman on guitar, and Stef Roti on drums - a raging trio fueled by Taco Bell, rock & roll myths, and pilfered booze. It doesn't quite add up how kids this young (Max L. just graduated high school) managed to tap into a vibe this classic. The band's self-titled full-length debut, out July 31 on Autumn Tone, is crammed with classic rock riffs, swinging beats, and up front, the sassy, done-up style of Max G. emoting loosely and widly like a young David Johansen fronting the New York Dolls, possessing a crooner's voice and a taste for style. Dolled up in flashy get-ups, Max G.'s voice is a growly, beefy thing, a rangy tenor that belies his taste for soul shouters. The prevailing mood in modern indie garage rock is one of stylistic indifference, but that's not how Yoko & the Oh No's come across; these kiddos don't just care, they care a lot. Listen to the crashing classic rock chorus of "Heart Attack," the sneering "She Knows It," and the distorted R&B groove of "Nobody Wants to Know." "Talking over radio/on the moonlit drive/We listen to VU/Jane says close your eyes." Yoko & the Oh No's S/T album is their first for Autumn Tone Records, which has a knack for finding raw young bucks (turn up records by the Orwells, Twin Peaks, and Modern Vices as a testament). Yoko & the Oh No's are currently on tour with likeminded rock & roll weirdos The Growlers, blowing minds and connecting with crowds across the Midwest.
    Yoko And The Oh No's
    $19.99
    Vinyl LP - Sealed Buy Now
  • City Wrecker EP City Wrecker EP Quick View

    $13.99
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    City Wrecker EP

    Hello everyone and anyone.


    I recently made some more recordings under the name Moonface, which take the form of a 5 song EP called City Wrecker, and run at around half an hour.


    City Wrecker is the title track of the ep. I wrote it before Miley Cyrus released "Wrecking Ball", but I cannot prove it. Oh well. In describing the song (and maybe the whole EP) I would say it's the aesthetic opposite of "Wrecking Ball" by Miley Cyrus, which is not to say that's a good thing or a bad thing, just an apple for you to hold up beside your orange. Regardless of all that, my friend Eetu, who recorded this EP, still likes to call the song "Wrecking Ball" and to sometimes call me Miley, but that's okay cuz we're buddies.


    I lived in Finland for a couple of years, but now I live in a little town nestled in the woods of Vancouver Island. This is a recent move, and so City Wrecker represents the last album I completed in Helsinki. Maybe I will go back to that big icy lighthouse, and all the lovely weirdos within I have come to love, one day, but for now I have used it up.


    I have a tendency to wreck the places I live. I am a luster scraper; a green grass imaginer. I wreck places emotionally, as in, even though they stay the same objectively, they somehow worsen in my heart. I wreck their meaning, and so ultimately their function. No more crackling inspiration. I waste my own time. I get bored. I turn gardens into dust bowls.


    And I am a city wrecker not just for myself, but for those close to me as well, for my wrecking is a quiet and creeping poison that is hard to identify; hard to see coming through my mist of moods. I fuss, and then still am dissatisfied, making my loved ones feel sad and helpless, angry and confused, and perhaps most terribly, responsible. Though of course they are blameIess and magnificent.


    I suppose this is why I have moved so many times in my life. It is not a good characteristic, and one I should work toward eradicating from my personality. But having regret is also unhealthy. So, I am Popeye?


    Anyway, all of the songs on this ep, in one way or another, are about places. Going in and going out. Regret and hope. The past and the future. Ducking out early from your own farewell party. That's why it's called City Wrecker.


    -Spencer Krug

    1. The Fog
    2. City Wrecker
    3. Running in Place with Everyone
    4. Helsinki Winter 2013
    5. Daughter of a Dove
    Moonface
    $13.99
    Vinyl EP - Sealed Buy Now
  • Toy Toy Quick View

    $18.99
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    Toy

    Includes Lead Singer Sabrina Ellis'Handwritten Lyrics + A Photo Of The Band

    Toy, the fourth LP from A Giant Dog and their second for Merge, shows the Austin quintet at the height of their powers. A solid year of road-dogging and wood shedding has made the band tighter than ever, the charging dynamo of Andrew Cashen and Andy Bauer's guitars in lockstep with the primal chug of the rhythm section of Graham Low on bass and Daniel Blanchard on drums,in the latter's recorded debut. Lead singer Sabrina Ellis turns in another masterful performance, in equal parts brash, defiant, vulnerable, and raw.

    Lyrically, Sabrina and Andrew have a gift for making their personal frustrations and fuck-ups, fears, lusts, and addictions feel universal. While they have always given voice to the weirdos and creeps-showing that their peccadilloes and peculiarities are much more deep-seated and widespread-they dig even deeper on Toy. I feel I've revealed more in this album than ever before, Sabrina confesses. Still, the band doesn't sacrifice an ounce of catchiness or charm when tackling issues like aging, agency, and mortality.For proof, just look at Photograph (not the Nickelback song), the sweetest love song about physical longing and enduring devotion to one's lover, even as their body succumbs to the ravages of time. Influences from Thin Lizzy to Tinariwen reveal themselves on the horn-heavy Toy Gun, within the string laden core of Fake Plastic Trees (not the Radiohead song), and during the explosive conclusion to Angst in My Pants (yes, the Sparks song). The hunger is real on Toy; it's not hard to believe Sabrina and Andrew when they proclaim, I'm not a lover / I am a fight on Bendover.

    A Giant Dog recorded Toy with Grammy-winning engineer Stuart Sikes(Loretta Lynn, Cat Power, The White Stripes, Reigning Sound), and singer/songwriter/guitarist/wildman Cashen produced it. Andrew as producer makes a lot of sense, Sabrina says. He composes the songs and knows better than anyone what they should sound like in the end. With him at the helm, we've arrived at a raw, truthful, risky, and rangy album.

    1. Get Away
    2. Fake Plastic Trees
    3. Bendover
    4. Toy Gun
    5. Lucky Ponderosa
    6. Photograph
    7. Roller Coaster
    8. Angst in My Pants
    9. Tongue Tied
    10. Hero for the Weekend
    11. Making Movies
    12. Night Terror
    13. Survive
    A Giant Dog
    $18.99
    Vinyl LP - Sealed Buy Now
  • Gone Banana Gone Banana Quick View

    $19.99
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    Gone Banana

    "Backed by film noir brass and gently reverbed minor chords, Birgy's spectral vocals are at once comforting like a cashmere blanket and discomboblatingly strange. Not unlike catching the scent of someone that pulls you
    back to a dimension you forgot."- Noisey


    "The record takes delightfully unexpected..., mixing together subdued vocals, fuzzy riffs, and deliberate bass lines with a saxophone that often slices
    through melodies with free-spirited and seductive cries." - Wild Magazine


    A thick green mist, a lush chill vibe; after 5 years and countless self-released
    tapes and CDs, Mega Bog - the brainchild of songwriter Erin Birgy - has
    completed their best work to date; a swirling pop cloud called 'Gone Banana'.
    Influenced equally by the emotional psychedelia of Kevin Ayers and the pop
    whimsy of Steely Dan, 'Banana' is a joyous declaration of artistic independence and purpose. The story of a chronic goofball insisting on being taken
    seriously. A celebration of melancholy; using music to force yourself off the
    floor when you hit the bottom. Birgy is an enigmatic musician and a true
    weirdo - Megabog changes lineups and configurations faster than most musicians change clothes.


    Alternately a tender songwriting project, a blazin-hot jazz-rock combo, or an
    open forum for goofy one offs and fragile experimentation, it is ultimately
    whatever Birgy wants it to be on a given day. For 'Banana' she has gathered a
    loose group from Seattle's thriving experimental pop and improvised music
    scene, including members of local mainstays like Neighbors and Iji, along
    with hotshot sax guy Jacob Zimmerman. Sounding equal parts Ariel Pink and
    Prefab Sprout, they rip through 9 hazy burners with a sneaky tightness hidden behind layers of drizzle and reverb. Birgy's rich voice croons and bends
    around the shifting walls of sound, organizing and refocusing the swirl. Representing a unique moment in Birgy's songwriting and a budding maturation
    for a bouncy community of oddball pop addicts, 'Gone Banana' is an immersive listening experience and a peek into the life of a truly strange soul.

    1. Intro (Bird Bridge)
    2. Aurora/99
    3. Goobie Krishna
    4. Cologne in the Night
    5. Wet Moss
    6. Gone Banana
    7. Year of Patience
    8. Chilidog
    9. TP - 89 (edit)
    10. Lady Rachel (by Kevin Ayers)
    Mega Bog
    $19.99
    Vinyl LP - Sealed Buy Now
  • He's Got The Whole This Land Is Your Land In His Hands He's Got The Whole This Land Is Your Land In His Hands Quick View

    $19.99
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    He's Got The Whole This Land Is Your Land In His Hands

    Twenty years now there's been this thing, our band, Joan of Arc. Sometimes we forget about it
    and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and
    wake up surprised and exhausted every day for months on end, given walking tours of old
    Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the
    Pacific coast. We know how lucky we are.


    The less we feel like a band-the more we can continue to be a band, but escape that feeling of
    doing all those shitty, corny things expected of bands-the truer to ourselves we feel. And you
    all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day:
    the truer to ourselves we feel, the better everything gets.


    We have shifted shapes and modified our approaches quite a number of times in the course of
    twenty years. And we've done so always aiming to stay true to ourselves at that moment, by
    instinct and with conscious intent. This time, it took us a long time to figure out how to start
    back up. We threw away a lot of songs and started over, over and over.


    But here's the thing: We are getting better at being ourselves. So many of the postures of
    youth just fall away with time. Most bands break up by that point, or become caricatures of
    their younger selves. Because money is tricky, or I should say, it comes to be that energy is
    tricky to muster after all of it goes into the basics of sustaining yourself.


    Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I
    am now. But I got this community of weirdo collaborators to lean on that he never had.
    We've never had an audience that gets any validation of its coolness through liking us. We've
    mangled, juxtaposed, and collaged too many elements for that social contract. But we trust
    each other.


    This time, finally, we trusted each other enough to throw all the songs away, to even throw
    away every preconceived idea about which one of us should take position at which instrument.
    We hit Record and played, and our collective tastes emerged. And they, our tastes in the
    moment, were the only standards in all the expanse of the stupefying and beautiful unknown
    universe, that we regarded as relevant in the least.

    1. Smooshed That Cocoon
    2. This Must Be The Placenta
    3. Stranged That Egg Yolk
    4. Full Moon and Rainbo Repair
    5. Cha Cha Cha Chakra
    6. Grange Hex Stream
    7. Two-Toothed Troll
    8. New Wave Hippies
    9. Never Wintersbone You
    10. F is for Fake
    11. Ta-ta Terrordome
    Joan of Arc
    $19.99
    Vinyl LP - Sealed Buy Now
  • Split Series #23 Split Series #23 Quick View

    $20.99
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    Split Series #23


    '[Gately] veers towards the fringes of pop before dancing away into weirdo ambience and
    more solemn computer music climes." - FACT


    "Hewing to a crooked axis of air-tumbling house drums and buoyant bass, Tlaotlon sparks
    off all manner of corkscrewing pings, synth stabs and scrambled electronics in a psychoactive manner belying his participation with wayward acts such as Finnish psych troupe,
    Kemialliset YstÄvÄt. " - Boomkat


    Another high quality, album-length release, the twenty-third - and penultimate - issue in
    FatCat's long-running and highy-acclaimed Split 12" Series features two emerging artists,
    each working in markedly di erent ways to forge bold new territory for modern electronic
    music. As usual, this record will be released on 12" vinyl in the Split Series' trademark
    hand-drilled and numbered packaging, pressed in a limited edition of 700 copies for the
    world.


    A hugely exciting new talent, Katie Gately is a Brooklyn-born, LA-based artist with an
    academic background in lm sound production and editing. Having only recently stepped
    out from her regular job as a sound designer in the lm industry, Katie has crafted a set of
    brilliantly intricate and ambitious sound pieces that exist in a borderzone between electro -
    acoustic composition, eld recording and deconstructed pop bringing to mind the
    widescreen scope of Scott Walker or Julia Holter and the precise playful abstraction of
    Matmos and Holly Herndon.


    Katie's o ering for this split 12" is a staggeringly bold and ambitious composition. A
    restlessly playful, hyper-intricate, 15-minute sprawl of a track, 'Pivot' shifts around
    constantly - feeling its way into being through a spartan, alien space of treated vocals
    and gestural sound-slashes set starkly against negative space. At the core of the track
    lies a song and recognisable lyrics, pitch-shifted and time-stretched, chopped and
    layered into choirs, switching its gender, rendering it into pure malleable texture, her
    heavily manipulated voice seeps throughout the track.


    Tlaotlon is the solo alias of Melbourne-based New Zealander Jeremy Coughbrough, who
    has released a clutch of records in the past few years on labels like Dungeon Taxis, Epic
    Sweep, Trensmat and 1080p. Messy, maximalist and psychedelic, Tlaotlon pro ers a kind
    of squelchy, hyper-colourful, dislocated modern electronica that might nd roots in older
    models like Phthalocyanine or Autechre but sharing commonalities with current producers
    like Patten, Sculpture, Dalglish, Astral Social Club and others.


    Starting out from a series of vivid, striking little loops, the resulting tracks rapidly grow,
    swelling into a densely-layered web of multiplying rhythms and synthetic textures to forge
    a kind of hypermodern Baroque: synthetic, slippery, endlessly playful, dense and psychedelic. Any traces of a club backbone are swiftly disoriented into a messy, mutant swirl, a
    joyful, dense tangle of rhythms and timbres. Car alarms, chipmunk vocals, space-jazz
    synth bleed, clattering debris-beats, and pitch-bent slashes all coalesce in a churning
    torrent of sound material.

    1. Katie Gately - Pivot
    2. Tlaotlon - MYRIADE
    3. Tlaotlon - ASCENSIS
    4. Tlaotlon - ODYS
    5. Tlaotlon - SIADE
    Katie Gately / Tlaotlon
    $20.99
    Vinyl LP - Sealed Buy Now
  • Dead Friends Dead Friends Quick View

    $15.99
    Buy Now
    x

    Dead Friends

    Austin, TX's Shawn David McMillen has appeared under his own name via Catfish (Tompkins Square), End Of The City (dnt,abandon ship) and now, Dead Friends (Tompkins Square). Past involvements have included Friday Group, Ash Castles, Max Ochs, Jandek, warmer milks, Tom Carter, Christina Carter, Peter Walker, Ralph White, Starving Weirdos, Steve Gunn, Marc Orleans and more recently Gel Jail with Mikey T and Greg Bachus. Dead Friends is Shawns new slow burning record rendered in amber fidelity. From Phantom Rivers to Sick on Navasota its all here.
    1. Walking Home (At The End of the Night)
    2. For Carrie Brown
    3. The Moth
    4. No Time Left In This Place
    5. Night Train
    6. A Morning With Dead Friends
    7. Frankensteins Kiss
    8. Our Weather
    9. Beladona Along The Brazos
    10. Every Eye
    Shawn David McMillen
    $15.99
    Vinyl LP - Sealed Buy Now
  • Salvation Town Salvation Town Quick View

    $24.99
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    Salvation Town


    Limited Audiophile Pressing by RTI


    Deluxe Gatefold Package


    Salvation Town, the surprising and powerful solo debut by Jonny Two Bags,
    guitarist for the Southern California punk rock institution Social Distortion,
    defies expectations at every turn. Produced by David Kalish, noted for his long
    association with Rickie Lee Jones, at his Redstar Studio in Los Angeles, the
    album features 10 striking original songs written by Jonny Two Bags, a.k.a.
    Jonny Wickersham.


    A diverse array of talent that spans the musical spectrum
    was enlisted for the recording. Jackson Browne shares vocals with Wickersham
    on "Then You Stand Alone," while David Lindley, whose guitar work graced
    several of Browne's classic '70s albums, contributes to four tracks. Los Lobos'
    multi-instrumentalist David Hidalgo and his sons David Jr. and Vincent join in
    on "Wayward Cain" and super-sideman Greg Leisz (Lucinda Williams, Eric
    Clapton, k.d. lang, Dave Alvin) also appears on guitar. The drum chair is filled
    by Pete Thomas, a mainstay of Elvis Costello's bands. Wickersham's colleagues in Social Distortion, keyboardist Danny McGough
    and bassist Brent Harding, join on a few tracks while Austin accordion luminary Joel Guzman and bassist/punk kingpin Zander
    Schloss (Weirdos, Circle Jerks, Thelonious Monster) round out the lineup.

    1. One Foot In The Gutter
    2. Avenues
    3. Then You Stand Alone
    4. Clay Wheels
    5. Forlorn Walls
    6. Wayward Cain
    7. Ghosts
    8. Hope Dies Hard
    9. Alone Tonight
    10. The Way It Goes
    Jonny Two Bags
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beale Street Saturday Night Beale Street Saturday Night Quick View

    $19.99
    Buy Now
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    Beale Street Saturday Night

    Clear Vinyl


    Memphis' Beale Street had been a hub of music and activity since the
    1860s. As it was being plowed under for "urban renewal" in 1976, James
    Luther Dickinson-who had played with The Stones, Ry Cooder and the
    Flamin' Groovies (later with Bob Dylan and the Cramps among others), as
    well as produced Big Star, Screamin' Jay Hawkins and Alex Chilton (also,
    The Replacements, Green On Red, and Mudhoney )-decided to not only
    celebrate the legacy of great Memphis music, but make it back into the
    place where both the blues and rock 'n' roll originated.


    A camaraderie of Memphis musicians, photographers, artists, thespians
    and "appropriate weirdos" gathered under Dickinson's direction to record
    the heart of Beale Street-past and present. From Furry Lewis and Sleepy
    John Estes to Sid Selvidge and Dickinson's own Mud Boy & The Neutrons,
    Beale Street Saturday Night is an unparalleled audio trip through Memphis
    music history. Recorded in places varying from artists' homes, to Ardent
    Studios, to The Orpheum Theatre, Beale Street Saturday Night was originally
    created as a fundraiser for the Memphis Development Foundation.
    This reissue will serve a similar purpose as a portion of the proceeds will
    go to support the radio program Beale Street Caravan which focuses on
    Memphis music, new and old.


    Beale Street
    Saturday Night features new liners from Jim Lancaster (who worked on
    the original issue) and previously unseen photos. This first ever reissue
    of Beale Street Saturday Night was done under the supervision and with
    the blessing of the Dickinson family, and it finally makes widely available
    this important music and historical Memphis document for new audiences
    to discover.


    In 1977, Memphis was officially declared "Home of the Blues" by an act
    of Congress. So, welcome home.

    1. Walkin' Down Beale Street - Sid Selvidge
    2. Hernando Horn - Fred Ford
    3. Beale Street Blues - Grandma Dixie Davis
    4. Big Fat Mama/Liquor Store - Sleepy John Estes
    5. Ol' Beale Street Blues - Prince Gabe
    6. Furry's Blues - Furry Lewis
    7. Rock Me Baby- Teenie Hodges
    8. Rock Me Baby - Alex
    9. "Ben Griffin was killed in the Monarch..." - Thomas Pinkston
    10. Frisco Blow - Johnny Woods
    11. On The Road Again - Mud Boy & The Neutrons
    12. "Mr. Handy Told Me 50 Years Ago." - Thomas Pinkston
    13. Chicken Ain't Nothin' But A Bird - Furry Lewis
    14. Roll On, Mississippi - Grandma Dixie Davis
    Various Artists
    $19.99
    Clear Vinyl LP - Sealed Buy Now
  • The Violent Sleep Of Reason The Violent Sleep Of Reason Quick View

    $27.99
    Buy Now
    x

    The Violent Sleep Of Reason

    Pressed On Grey / Black Splatter


    Limited To 1000 Copies


    The Violent Sleep of Reason, the band's eighth full-length studio album, finds MESHUGGAH building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand.


    "There's a distinct methodology", says drummer, writer and spokesman for the band Tomas Haake, that was put into motion to help the band achieve the level of "intensity" the attentive fan will feel as he/she makes their way through The Violent Sleep of Reason.


    For this one, it's all live takes, with either 3 or 4 of the band members recording their respective instruments simultaneously - which is a way of recording they haven't used in many years. And that definitely goes against the stream of what you see in most technical metal nowadays, where editing, drum programming, the use of "beat detectives" etc. is a way more common approach to recording. So on this one, MESHUGGAH went back towards a more old-school approach, properly rehearsing the songs as a whole band before going into studio to record them. Jens was in one room, guitarists were in one room, bass player Dick was sitting right next to the drum set with an amplifier/cab in the next room. So in that sense this is more "old school"; the methodology is in that sense more like what bands were doing in the '80s and 90s. "And that vibrancy comes out", says Haake; "it's a very audible difference, sloppier sounding if you will, but at the same time it brings a different energy than the last few albums - this is "less perfect", but in that sense, also more alive."


    The personal challenge taken on by the band produced fortunate byproducts as well, or, rather, it inspired them to "de-machine" other aspects of the technical MESHUGGAH juggernaut.


    "Yes, for this one we also changed our approach toward the guitar recording/sounds," explains Haake, who nonetheless confirms that the band is still using eight-string axes, and for the most part, tuning down half a step to achieve that torrid MESHUGGAH guitar grunt. "The last few albums have been mostly digital, guitar sounds-wise, using all digital guitar gear as opposed to analog tube amps and regular cabs. The upside of using all digital like we did previous, is you can re-amp it afterwards, as it's basically a clean signal so you can pick, choose, and tweak things at a later point. But with this album, it was six speakers, all separately miked in one (super-loud) room, each cabinet with a different head -Marshall, Orange, Mesa Boogie etc-and then mixing it up a little bit depending on the song. If there was a song that was a little slower and sludgier, we might add more of the Orange amp to get a tad more of that stoner sound. And if it's a bit more metal, we'd maybe use the Marshall head or the Mesa head a little more in the mix. So we did have the opportunity, to mix and match for each song so the guitar sound is not exactly the same for every song. And that's a difference from Koloss and obZen, for example, where pretty much every song had the same drum and guitar sound."


    But the end result is still a relentless onslaught of MESHUGGAH -patented ideas, save for one gorgeous and atmospheric respite, at the close of "Stifled."


    Framing the pacing and contours of record, Tomas says, "None of the songs stick out quite like, for example, the way "Bleed" did on obZen. To me, it doesn't really have hits-it just has really cool songs! Not that we ever really had "hits" though (laughs). They're just maybe a little "wilder" sounding on this album, much due also to the live recording approach. Dick and I wrote about half of the material, and the rest was either me and Mårten working together or Mårten writing on his own. We were kind of going for something nuts as is the case with all our writing/recording albums - We wanted to hear something that we hadn't heard ourselves do before." Fredrik was not part of the songwriting for this one, as he's been hard at work on his next solo album, but as always he was still very involved with every aspect of the recording, from recording rhythm guitars, guitar solos etc . "And that's also a completely new thing," continues Tomas. "Dick was never involved in the songwriting prior to this album, whereas Fredrik always was. And that, of course, creates a difference in the way the album as a whole came out."


    At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of "the violent outcome of not dealing with what is going on, the violent implications of being asleep. "The title is actually inspired by a Goya painting called 'The Sleep of Reason Produces Monsters.'"


    A second highlight is strident opener and longest song on the album, "Clockworks," which is strafed by a typically super-human drum performance from Haake. "That's more about looking to yourself and who you are and things you want to change about yourself. And then in the context of how your mind works, as a clockwork. It's the idea of taking out all the little pins, wheels, and springs and kind of rebuilding it to make you function in a different fashion. So lyrics for that song is a look in on self, at things that you wish that you could change about yourself."


    Listen to tracks like the vertigo-inducing "Nostrum" and the slower if equally circular and note-dense "By the Ton," and it's easy to understand why it's been four years since a MESHUGGAH album. But mind-numbing complexity of the material is not the only reason, explains Haake.


    "No, well, I would say first of all, it takes us a lot of time to write. And we're very bad at focusing; we're very bad at multitasking. I don't think we ever wrote one single riff on a tour bus or in a hotel room. So if you have a touring cycle of two, two-and-a-half, three years, there's not going to be anything written in that time period. And that's just how we all function. We need to have a break, like, okay, time out now-nothing else for a year. We need to write for one year. But you also want to tour as much as possible for an album. Koloss, for example, we toured for like two-and-a-half years. And then you write. And when we do finally write, we scrutinize those songs, riffs, structures over and over and over, and change things as we go. So in a lot of the songs, maybe only one riff was actually there originally. So writing for us does take a long time, no doubt."


    As a result, the band's erudite and intelligent fan base "get something that they don't really hear in any other bands". On the first album you still hear a lot of Metallica and Anthrax and Bay Area kind of thrash metal influence. "We knew that we sounded a bit like that, but we were aiming for something we hadn't heard in any other band. And that's still the main fuel. We're not trying to write your average metal song. We're not trying to write catchy songs. We're not trying to write hit songs (laughs). We're just trying to write something that is cool, that we haven't heard before, and hopefully our fans haven't heard before. And that also gets harder and harder though, because by now, there are so many awesome musicians and bands and so much great music out there. But it would seem like the followers that we do have, the people that have kept buying our albums and stayed with us for a lot of years, are not necessarily the typical metal fans. The crowd we have is diverse. We have a lot of geeks and nerds and weirdos, and they are beautiful ones, you know? We have a lot of people with talent, and a lot of people that are also interested in music as art, and not just an event."


    But it's not lost on Tomas that MESHUGGAH is making daunting progressive music, music where melody is subservient to jackhammer rhythm, as evidenced by the way that even his lead singer, Jens Kidman, is situated within the maelstrom that is MESHUGGAH


    "He's the perfect tool for the job. Just like most people, we all, of course, like music where there's "proper singing", and we all love a great singer. Personally, I think the voice is the most empathic instrument. You hear someone sing and you're like, oh my God, that's the coolest instrument in the world. But at the same time, what we're trying to do is not that. Just like the guitars and me as a drummer, Jens also is a rhythmic tool, one that adds aggression, as well as words to back up that aggression if you will."


    So would Tomas then acquiesce to the idea of MESHUGGAH as metal's reigning enemies of melody?


    "In a sense, yeah. I mean, there is definitely melody and a lot of melodic thought put into tonalities, harmonies between bass and guitars and things like that, but at the same time, we're not often going for anything pretty. Sometimes there's a little bit, where we go, 'Awww, that's beautiful," but then we usually immediately mess it up again. You give it a little bit of something "nice" sometimes, but basically we're not going for niceness (laughs)."


    Produced by Meshuggah; engineered by Tue Madsen, Puk Studios, Kaerby, Denmark.

    1. Clockworks
    2. Born In Dissonance
    3. MonstroCity
    4. By The Ton
    5. Violent Sleep Of Reason
    6. Ivory Tower
    7. Stifled
    8. Nostrum
    9. Our Rage Won't Die
    10. Into Decay
    Meshuggah
    $27.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Drive Soundtrack (Out Of Stock) Drive Soundtrack (Out Of Stock) Quick View

    $29.99
    x

    Drive Soundtrack (Out Of Stock)


    Opaque Gold Colored Vinyl


    Various Artists with Original Motion Picture Score by Cliff Martinez. A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

    The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011.

    The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.

    ''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.''

    This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band.

    Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.

    LP1
    1. Nightcall - Kavinsky & Lovefoxxx
    2. Under Your Spell - Desire
    3. A Real Hero - College feat. Electric Youth
    4. Oh My Love - Riz Ortolani feat. Katyna Ranieri
    5. Tick of the Clock - The Chromatics
    6. Rubber Head - Cliff Martinez
    7. I Drive - Cliff Martinez
    8. He Had a Good Time - Cliff Martinez
    9. They Broke His Pelvis - Cliff Martinez
    10. Kick Your Teeth - Cliff Martinez


    LP2
    1. Where's The Deluxe Version? - Cliff Martinez
    2. See You in Four - Cliff Martinez
    3. After The Chase - Cliff Martinez
    4. Hammer - Cliff Martinez
    5. Wrong Floor - Cliff Martinez
    6. Skull Crushing - Cliff Martinez
    7. My Name on a Car - Cliff Martinez
    8. On The Beach - Cliff Martinez
    9. Bride of Deluxe - Cliff Martinez

    Cliff Martinez
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Drive Soundtrack (Gold Vinyl) (Out Of Stock) Drive Soundtrack (Gold Vinyl) (Out Of Stock) Quick View

    $29.99
    x

    Drive Soundtrack (Gold Vinyl) (Out Of Stock)

    Gold Colored Vinyl


    Various Artists with Original Motion Picture Score by Cliff Martinez. A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.


    The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011.


    The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.


    ''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.''


    This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band.


    Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.

    LP1
    1. Nightcall - Kavinsky & Lovefoxxx
    2. Under Your Spell - Desire
    3. A Real Hero - College feat. Electric Youth
    4. Oh My Love - Riz Ortolani feat. Katyna Ranieri
    5. Tick of the Clock - The Chromatics
    6. Rubber Head - Cliff Martinez
    7. I Drive - Cliff Martinez
    8. He Had a Good Time - Cliff Martinez
    9. They Broke His Pelvis - Cliff Martinez
    10. Kick Your Teeth - Cliff Martinez


    LP2
    1. Where's The Deluxe Version? - Cliff Martinez
    2. See You in Four - Cliff Martinez
    3. After The Chase - Cliff Martinez
    4. Hammer - Cliff Martinez
    5. Wrong Floor - Cliff Martinez
    6. Skull Crushing - Cliff Martinez
    7. My Name on a Car - Cliff Martinez
    8. On The Beach - Cliff Martinez
    9. Bride of Deluxe - Cliff Martinez

    Cliff Martinez
    $29.99
    Vinyl LP - Sealed Temporarily out of stock
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