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Artist	Title	Format	Label	Catalog #

RESIDENTS, THE	The Ghost Of Hope	CD	CRYPTIC CORPORATION	MVD 851CD
$15.00 PREORDER RELEASE DATE: 9/7/2018 "Following their long tradition of projects based on narrative themes, The Residents are pleased to announce the release of The Ghost of Hope, a historically accurate album based on train wrecks. Pursuing this theme in both a literal and metaphorical sense, the group discovered a series of vintage news articles highlighting the dangers of train travel in the late 19th and early 20th centuries. Inspired by the era's elegant language, the group then contrasted that eloquence against the sheer horror of these devastating events, resulting in an album that sounds both startlingly new and curiously nostalgic. Using the familiar elements of music, spoken voice, sound effects and audio textures, The Residents have constructed a highly original series of tone poems quite unlike the music of anyone else -- except, of course, The Residents. The album features guest collaborator Eric Drew Feldman -- who has worked with everybody cool, so he's already in your record collection."

Artist	Title	Format	Label	Catalog #
WE ARE MUFFY	The Charcoal Pool	CD	TAPETE	TR 410CD
$17.00 PREORDER RELEASE DATE: 7/27/2018 From somewhere wild and strange in Cornwall come the idiosyncratic acoustic sounds of We Are Muffy, the happy alliance of Nick Duffy (The Lilac Time, Bait) and Angeline Morrison (The Mighty Sceptres, The Ambassadors of Sorrow). With influences including the Incredible String Band, Tyrannosaurus Rex, Sam Cooke, Max Romeo, and Shirley & Dolly Collins weaving through their music, We Are Muffy spin poetic narratives of remembered and imagined pasts. Their distinctive strain of folk music combines vocal harmonies with unexpected instrumentation (lyre, music box, cutlery, bottle tops, broken china), in amongst the expected (autoharp, banjo, double bass). It all began when Nick asked Angeline to provide some guest vocals on his Simulacra Two album (2016), a collection of unorthodox covers. Whilst lively debate ensued on the themes of folk song and cover versions, it soon emerged that they shared a common homeland: Birmingham. In scenes reminiscent of the industrial heyday of this city they began to turn out song upon song depicting the peculiarities of growing up there. "Frosted Candy" is a love song to the delights of color, of texture, and the delicious mysteries of the adult world that reveal themselves upon discovery of the makeup counter at the local chemist. A joyful song that captures the uncertain balance between appearance and identity, outward poise and inward angst performing an intricate dance in a miniature bildungsroman. "Milk Bar" depicts everyday life on the furthest reaches of the 56 bus route, back when Spaghetti Junction was still being built, somewhere just over the horizon. When you were just as likely to go to Elmdon Airport as the Beaufort cinema if you were a teenager looking for light entertainment. Recorded in Nick's garden studio -- once a suburban double garage, now inaccessible by motor vehicle due to encroaching foliage -- The Charcoal Pool is replete with the sounds of the neighborhood. Crows, robins, and seagulls all put in an appearance, as does the rain on the skylights and the trains on the adjacent branch line. You may have already heard We Are Muffy on BBC 6 Music, BBC Introducing, and BBC Radios 2 & 3.

Artist	Title	Format	Label	Catalog #
WE ARE MUFFY	The Charcoal Pool	LP+CD	TAPETE	TR 410LP
$23.00 PREORDER RELEASE DATE: 7/27/2018 LP version. Includes CD. From somewhere wild and strange in Cornwall come the idiosyncratic acoustic sounds of We Are Muffy, the happy alliance of Nick Duffy (The Lilac Time, Bait) and Angeline Morrison (The Mighty Sceptres, The Ambassadors of Sorrow). With influences including the Incredible String Band, Tyrannosaurus Rex, Sam Cooke, Max Romeo, and Shirley & Dolly Collins weaving through their music, We Are Muffy spin poetic narratives of remembered and imagined pasts. Their distinctive strain of folk music combines vocal harmonies with unexpected instrumentation (lyre, music box, cutlery, bottle tops, broken china), in amongst the expected (autoharp, banjo, double bass). It all began when Nick asked Angeline to provide some guest vocals on his Simulacra Two album (2016), a collection of unorthodox covers. Whilst lively debate ensued on the themes of folk song and cover versions, it soon emerged that they shared a common homeland: Birmingham. In scenes reminiscent of the industrial heyday of this city they began to turn out song upon song depicting the peculiarities of growing up there. "Frosted Candy" is a love song to the delights of color, of texture, and the delicious mysteries of the adult world that reveal themselves upon discovery of the makeup counter at the local chemist. A joyful song that captures the uncertain balance between appearance and identity, outward poise and inward angst performing an intricate dance in a miniature bildungsroman. "Milk Bar" depicts everyday life on the furthest reaches of the 56 bus route, back when Spaghetti Junction was still being built, somewhere just over the horizon. When you were just as likely to go to Elmdon Airport as the Beaufort cinema if you were a teenager looking for light entertainment. Recorded in Nick's garden studio -- once a suburban double garage, now inaccessible by motor vehicle due to encroaching foliage -- The Charcoal Pool is replete with the sounds of the neighborhood. Crows, robins, and seagulls all put in an appearance, as does the rain on the skylights and the trains on the adjacent branch line. You may have already heard We Are Muffy on BBC 6 Music, BBC Introducing, and BBC Radios 2 & 3.

Artist	Title	Format	Label	Catalog #
LUBRICATED GOAT	Plays The Devil's Music	LP	SORCERER RECORDS	SORC 1004LP
$21.00 PREORDER RELEASE DATE: 7/27/2018 Sorcerer Records present a reissue of Lubricated Goat's debut LP Plays The Devil's Music, originally released in 1987. It's been out of circulation for over two decades, and Sorcerer Records presents this classic slice of underground Australiana in all its glory. Recorded over two recording sessions in mid-1986, one in Perth and one in Adelaide, Plays The Devil's Music wasn't really seen by LG founder/mainstay Stu Spasm (ex-Beasts Of Bourbon, Salamander Jim, and much more) as a part of any grand musical plan. He recorded these tracks with his friends Martin Bland, Brett Ford, and Pete Hartley and went back to Sydney with the tapes. John Foy of Black Eye Records loved the results and the band known as Lubricated Goat was born. Over the course of several more full-lengths and an EP or two, the band made themselves a reputation as one of Australia's finest purveyors of post-punk noise-rock before relocating to the US. The musical scene centered around the Black Eye label in Sydney at the time, with bands such as the 'Goat, Thug (featuring a young Tex Perkins), No More Bandicoots, Box The Jesuit, etc. remains one of Australia's richest, weirdest and most inventive conglomeration of musicians and artists, and Stu and company were right in the thick of it. Lubricated Goat were (perhaps correctly) often compared to the Butthole Surfers at the time, and their mix of punk, post-punk, noise, and a taste for the absurd puts them firmly in the same camp. Throw in a little bit of Stooges/Birthday Party-style grunt and a distinctly Australian sense of humor and you're getting close to the magic of early Lubricated Goat. This edition comes remastered c/o Mikey Young. Comes in original artwork and inner sleeve; Includes download card; Includes new liner notes from Stu Spasm detailing the history of the recording. Recommended for fans of: Butthole Surfers, Killdozer, Pere Ubu, Big Black, Birthday Party.

Artist	Title	Format	Label	Catalog #
LOVE, SIMON	Sincerely, S. Love x	CD	TAPETE	TR 406CD
$17.00 PREORDER RELEASE DATE: 7/13/2018 If you're thinking of buying just one magnificent pop disc in 2018, you need look no further: Tapete present Simon Love's Sincerely, S. Love x. Sincerely, S. Love x (the kiss is meant to be pronounced) is Simon's sophomore solo album (his 2015 debut It Seemed Like A Good Idea At The Time was released on the brilliant, now sadly defunct Fortuna Pop label) and it features at least ten hits. Proper pop hits, with ELO harmonies, Spectoresque production, strings, and trumpets, the whole shebang. All recorded over the last two years in London, England. Big city pop! Listening to Sincerely, S. Love x conjures up images of the Run DMC/Aerosmith video for "Walk This Way", except in Love's case, the 1910 Fruitgum Company would be rehearsing on one side of the wall and The Left Banke on the other. When the wall between the two bands comes tumbling down, Elton John might pop in to see what all the fuss is about. He happens to see a white grand piano standing there and joins in the fun. Then they crack open a few bottles of Cola and listen to The Rutles or Stiff Records 7"s. And seeing as they are all there in the same place, they record a few songs together. The result: the album you now see before you. More or less. "Maybe it sounds rather corny, but love really is a big part of this album," Simon Love admits. "'God Bless The Dick Who Let You Go' was a wedding gift for my wife, for instance ... I'm such a cheapskate!" Homemade presents are the loveliest presents of all. And to be fair, with a name like Love, why shouldn't the most delectable of feelings take center stage? Love is in abundance on Simon's new album: two tunes for his beloved ("God Bless The Dick Who Let You Go", "I Fucking Love You"), one for himself ("The Ballad Of Simon Love") and one for Joey Ramone ("Joey Ramone"). A song about the Beach Boys villain who shares his last name would not be out of place either. One for the next album perhaps. Other topics covered on this set: an unsightly tattoo ("Why´d You Get That Tattoo Girl?"), tennis ("Tennis Fan"), and a letter written by the five-year-old Stephen Timothy West to Blue Peter presenter John Noakes ("Stephen Timothy West"). The album is also characterized by a liberal dose of swearwords: Fuck, fucking, dick, dicking (and there's a shit in there too). This should, if nothing else, finally lend an air of street credibility to Tapete Records.

Artist	Title	Format	Label	Catalog #
LOVE, SIMON	Sincerely, S. Love x	LP+CD	TAPETE	TR 406LP
$23.00 PREORDER RELEASE DATE: 7/13/2018 LP version. Includes CD. If you're thinking of buying just one magnificent pop disc in 2018, you need look no further: Tapete present Simon Love's Sincerely, S. Love x. Sincerely, S. Love x (the kiss is meant to be pronounced) is Simon's sophomore solo album (his 2015 debut It Seemed Like A Good Idea At The Time was released on the brilliant, now sadly defunct Fortuna Pop label) and it features at least ten hits. Proper pop hits, with ELO harmonies, Spectoresque production, strings, and trumpets, the whole shebang. All recorded over the last two years in London, England. Big city pop! Listening to Sincerely, S. Love x conjures up images of the Run DMC/Aerosmith video for "Walk This Way", except in Love's case, the 1910 Fruitgum Company would be rehearsing on one side of the wall and The Left Banke on the other. When the wall between the two bands comes tumbling down, Elton John might pop in to see what all the fuss is about. He happens to see a white grand piano standing there and joins in the fun. Then they crack open a few bottles of Cola and listen to The Rutles or Stiff Records 7"s. And seeing as they are all there in the same place, they record a few songs together. The result: the album you now see before you. More or less. "Maybe it sounds rather corny, but love really is a big part of this album," Simon Love admits. "'God Bless The Dick Who Let You Go' was a wedding gift for my wife, for instance ... I'm such a cheapskate!" Homemade presents are the loveliest presents of all. And to be fair, with a name like Love, why shouldn't the most delectable of feelings take center stage? Love is in abundance on Simon's new album: two tunes for his beloved ("God Bless The Dick Who Let You Go", "I Fucking Love You"), one for himself ("The Ballad Of Simon Love") and one for Joey Ramone ("Joey Ramone"). A song about the Beach Boys villain who shares his last name would not be out of place either. One for the next album perhaps. Other topics covered on this set: an unsightly tattoo ("Why´d You Get That Tattoo Girl?"), tennis ("Tennis Fan"), and a letter written by the five-year-old Stephen Timothy West to Blue Peter presenter John Noakes ("Stephen Timothy West"). The album is also characterized by a liberal dose of swearwords: Fuck, fucking, dick, dicking (and there's a shit in there too). This should, if nothing else, finally lend an air of street credibility to Tapete Records.

Artist	Title	Format	Label	Catalog #
HELDON	Third (It's Always Rock 'N' Roll)	2LP	BUREAU B	BB 282LP
$30.50 PREORDER RELEASE DATE: 6/29/2018 Double LP version. Bureau B present a reissue of Heldon's third album Third (It's Always Rock 'N' Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock And Roll. Richard Pinhas's essential attack of searing guitar and space-bound synthesizer didn't change radically after the first two Heldon albums, 1974's Electronique Guerilla (BB 280CD/LP) and 1975's Allez-Teia (BB 281CD/LP). But there's dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. "At this time, I tried to turn Heldon into a darker band," Pinhas admits. "But dark is not negative to me." The darkness of It's Always Rock And Roll is more about exploring what's hidden and overturning convention -- about diving beneath bright surfaces to find something more mysterious. If It's Always Rock And Roll stands up in Heldon's catalog, perhaps it's due to expansion -- both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. "I think the length of a track is part of the creation of the track," says Pinhas. "There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands." "We recorded this after having met with Philip K. Dick in California for two days," recalls Pinhas. "It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third." So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It's Always Rock And Roll is undoubtedly Pinhas' baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.

Artist	Title	Format	Label	Catalog #
HELDON	Agneta Nilsson (Heldon IV)	CD	BUREAU B	BB 283CD
$17.00 PREORDER RELEASE DATE: 6/29/2018 Bureau B present a reissue of Heldon's fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. "Perspective I" spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It's one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It's just sounds put together and turned up. It's the vital alchemy of Richard Pinhas's wizardry, deployed with maximum force. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective", partners in a thematic whole. "Each one is a different point of view on the same field," explains Pinhas. "Different parts, different arrangements, but with a full concept in place." It's not easy to divine that concept in these pieces, but their sibling nature has a subconscious effect. The album-closing "Perspective IV" is one of Pinhas's most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas is incapable of sitting still. 2018 remaster by Willem Makkee.

Artist	Title	Format	Label	Catalog #
GRIFTERS, THE	So Happy Together	LP	SORCERER RECORDS	SORC 1007LP
$21.00 PREORDER RELEASE DATE: 6/29/2018 Sorcerer Records present a reissue of The Grifters' So Happy Together, originally released in 1992. Memphis's Grifters made some of the finest recordings of Clinton-era America, with a number of albums on labels such as Shangri-La (their second and third LPs) and then Sub Pop for their remaining two albums. Their mixture of Memphis blues/roots influences, classic pop songwriting, and lo-fi aesthetics saw them as one of the shining lights of the '90s indie-rock scene. Here, Sorcerer Records reissue their first full-length LP, So Happy Together, out of circulation for over two decades. Originally released in 1992 on the Chicago indie label, Sonic Noise, which ceased operations not long after the album was released (hence many Grifters fans having never heard this very recording), the Grifters' So Happy Together is an absolute masterpiece of lo-fi slapped-together rock & roll. Less "rootsy" than their subsequent music, it sees the band navigating their way through ten sublimely inventive, non-generic "rock" tracks which beggar comparison. Well, at the time they were compared to the likes of Pavement, Guided By Voices, Trumans Water, et al. and other practitioners of stumbling no-fi sounds, but the Grifters' deft grasp of song dynamics, mixing up quiet balladry with booming guitar explosions inhabiting the same song surely puts them in their own bracket, no? In a review of the album at the time, they were claimed to be the missing link twixt the Wipers and Mission Of Burma (stealing comparisons from others), and 25 years later, such a claim still doesn't seem totally ridiculous. Anyway! The time is ripe for the world to rediscover the sheer genius of the Grifters. The Fat Possum label reissued their second and third albums, and now it's time to hear where it all began. So Happy Together comes fully remastered from the original tapes by Mikey Young. Housed in the original artwork in a heavy 425gm sleeve; Includes an insert featuring exclusive photos from the time and new liner notes from the band's Tripp Lamkins.

Artist	Title	Format	Label	Catalog #
NOGUCHI, SHUTARO	Love Super Terranean	LP	FEEDING TUBE RECORDS	FTR 381LP
$18.50 PREORDER RELEASE DATE: 6/29/2018 "Debut album by a wonderful Louisville-based guitarist/vocalist we happened upon at the 2017 Cropped Out Festival. Mr. Noguchi had recorded with Jim Marlowe on the Equipment Pointed Ankh cassette Sophomore Lounge put out (2016), but who could fucking remember that? Not us, so we were bowled over by the powerfully loud free-psych guitar set Shutaro's band played in the afternoon. FTR Boss Ted inquired of him as to whether he might have some recordings that were along the same lines. He said he did, and here they are. The tracks are partially like what his live set made us expect, but they go a lot of other dang places besides. Here the four long tracks rub against each other like adjacent bands on a PSF psych comp. The lengthiness of the song formatting allows a lot of textural motion in all directions, and the six musicians take full advantage of available latitude. The overall effect is strange and proggy, with Dane Waters' vocal overlays giving the proceedings a shiny surface they might not otherwise maintain. But the sound is wonderfully hybridized. At times its merger of prog, pop, fusionism and complexity make me think of a collision between the Glenn Phillips Band and Todd Rundgren's Utopia with Terje Rypdal sittin' in. I know I'm making it sound like a crazy quilt, and I suppose if sort of is, but only in the sense that it avoids the monochromaticism of so much contemporary music. Shutaro does not grab a single schtick and just shake it until his arm is tired. He mixes up of ballads and thunder (sometimes in a single song) in a way that strikes me as somehow very Japanese. But mostly it just strikes me about the head. In the most pleasant of ways. Take off your helmet and give it a try. You'll never know what hit you." --Byron Coley, 2018 Edition of 250.

Artist	Title	Format	Label	Catalog #
HELDON	Agneta Nilsson (Heldon IV)	LP	BUREAU B	BB 283LP
$22.00 PREORDER RELEASE DATE: 6/29/2018 LP version. Bureau B present a reissue of Heldon's fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. "Perspective I" spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It's one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It's just sounds put together and turned up. It's the vital alchemy of Richard Pinhas's wizardry, deployed with maximum force. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective", partners in a thematic whole. "Each one is a different point of view on the same field," explains Pinhas. "Different parts, different arrangements, but with a full concept in place." It's not easy to divine that concept in these pieces, but their sibling nature has a subconscious effect. The album-closing "Perspective IV" is one of Pinhas's most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas is incapable of sitting still. 2018 remaster by Willem Makkee.

Artist	Title	Format	Label	Catalog #
KILL DEVIL HILLS, THE	Pink Fit	LP	BANG! RECORDS	BANG 124LP
$25.00 PREORDER RELEASE DATE: 6/29/2018 The Kill Devil Hills' fifth album, Pink Fit! In this occasion the band deliver six long tracks, fulfilled of complex melodies and intensity. The Kill Devil Hills are one of Australia's best kept secrets. Coming from the isolated city of Perth, these musicians continue their growth and evolution delivering the very finest and most intense music which takes you, with their unique stamp and signature, to the world of The Drones, The Beasts Of Bourbon, Kim Salmon, The Gun Club, Johnny Cash... After the highly demanded reissue of their 2004 debut (BANG 017LP), here comes another magnificent musical work by these excellent and finest Australian musicians. 150 gram vinyl; Edition of 500.

Artist	Title	Format	Label	Catalog #
HELDON	Third (It's Always Rock 'N' Roll)	2CD	BUREAU B	BB 282CD
$21.00 PREORDER RELEASE DATE: 6/29/2018 Bureau B present a reissue of Heldon's third album Third (It's Always Rock 'N' Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock And Roll. Richard Pinhas's essential attack of searing guitar and space-bound synthesizer didn't change radically after the first two Heldon albums, 1974's Electronique Guerilla (BB 280CD/LP) and 1975's Allez-Teia (BB 281CD/LP). But there's dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. "At this time, I tried to turn Heldon into a darker band," Pinhas admits. "But dark is not negative to me." The darkness of It's Always Rock And Roll is more about exploring what's hidden and overturning convention -- about diving beneath bright surfaces to find something more mysterious. If It's Always Rock And Roll stands up in Heldon's catalog, perhaps it's due to expansion -- both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. "I think the length of a track is part of the creation of the track," says Pinhas. "There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands." "We recorded this after having met with Philip K. Dick in California for two days," recalls Pinhas. "It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third." So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It's Always Rock And Roll is undoubtedly Pinhas' baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.

Artist	Title	Format	Label	Catalog #
APOSTILLE	Choose Life	CD	UPSET THE RHYTHM	UTR 090CD
$14.50 PREORDER RELEASE DATE: 6/15/2018 Alongside running his own acclaimed DIY record label Night School Records, Glasgow native, Michael Kasparis has spent the last few years making forays into the realm of hardcore punk with his groups Anxiety and The Lowest Form. Throughout all this, his solo electronic venture, Apostille has continued to evolve with each twist and turn of the world. His audacious 2015 debut album Powerless self-released through Night School set the template by hooking up his honest delivery to some manic expositions in electronic pop. At once minimal and courageous with intent to connect, Apostille songs race off with unchecked abandon, skittering drum machines, thick walls of sequenced synth and decidedly elastic basslines. Choose Life is both the album Apostille chose to make and had to make. He dialed down the clown, built up a new-found confidence in his voice and melody in general, and began to feel more at home in the refuge of pop music. Recorded with Lewis Cook (Happy Meals, The Cosmic Dead) at his home studio Full Ashram, Choose Life came together in serial fashion through 2017 with Kasparis calling in when each new song was ready to commit to tape. "Fly With The Dolphin" opens the album like a cork rocketing from a bottle, dashing to the horizon with a rampant beat, synth pop throttle, and acidic edge. Melody and purpose is pushed to the fore, backed to the hilt by some brutish rhythmic production. "Feel Bad" is similarly equipped, with Kasparis sounding more himself than ever. Nothing is cloaked in reverb, obscured or distorted, this is Apostille in the broad daylight, ambitious, open-armed and vulnerable. This is pop music as redemption, the drawing of a line, songs that step anew unto the dawn. In parallel to this emergent resolution there's also an acknowledgement of dissonance in many of the tracks, including "The Mordant", "Without Me", and "In Control", that turn a cracked mirror back onto Kasparis. The effect is often nightmarish and threatens to overwhelm, yet as the songs advance a certain deadpan humor leaks through the exaggeration leaving the punch cushioned. "Thirteen Minutes" relies on a similar transgressive approach. The electronic hand claps sting, the bassline continues mercilessly ever forward. The act of always becoming, never arriving is at the heart of Apostille, the project only exists in a state of flux, mutable and moving in both senses of the word. Mastered by Mikey Young.

Artist	Title	Format	Label	Catalog #
VITAL IDLES	Left Hand	LP	UPSET THE RHYTHM	UTR 106LP
$21.00 PREORDER RELEASE DATE: 6/15/2018 Playing their first shows in Glasgow in 2015 during a summer that never threatened to show up, Vital Idles' origins are closely tied with a tireless underground culture, a culture that informs the band's refusal to take it easy. Matthew Walkerdine, Nick Lynch, and Andy Monaghan are responsible for Glasgow DIY publishing institution Good Press while guitarist Ruari MacLean's pedigree stretches back to breakneck-indie-pop group Golden Grrrls and the Rose McDowall band. Following two self-released demos (2015) and a sold-out debut 7" (2016), Vital Idles arrive on Upset The Rhythm with Left Hand, a bare manifesto layered with meaning and non-meaning. With their debut album Vital Idles have stripped away all extraneous ornamentation to sculpt an incredibly life-like, vibrant pop music completely détourned and re-thought. For a conglomerate of art outsiders and aesthetes, Vital Idles are primitive, whimsically brutal. Sculpting a skeleton from a body already lean, there's a thrilling minimalism that runs through every beat and strum, a sparseness that feeds Jessica Higgins's surreal, oblique vocal delivery all the nourishment it needs. Following practice room and bigger-budget recordings with Glasgow engineer Monaghan, Vital Idles took complete control of their debut album, with Edwin Stevens (aka, Irma Vep) providing an outside perspective on the hermetically sealed group's music. Engineered by Stevens and MacLean, Left Hand crackles with a raw, punk approach to writing warped pop songs that don't just talk of disorder but often actively demonstrate it. Higgins manages to create dialogues that she narrates both parts of, dada-ist songs that seem obfuscated by layers of meaning that, when taken on their own terms as evocative mini-worlds, reveal themselves to be pieces that have an internal melancholy and logic. Like Gertrude Stein growing up on Dunedin pop groups, peel away the deliberate awkwardness and Left Hand reveals itself to be a book of complex, literary short stories at pleasing odds with the wired, no-frills melodic thud MacLean, Lynch, and Walkerdine serve. At times a perilous journey into the unknown and at others an immensely enjoyable foray into form deconstruction, lyricist Higgins repeatedly builds narratives out of mis-hearings, peons to doing things wrong, sideways-glances at conventional narrative. The delivery tightrope-walks between deadpan epithets and a Smiths-ian pop singing which gives many of the lyrics bite, pathos, and a surprising amount of surrealistic positivity. 180 gram vinyl; Includes poster and download code. Edition of 500.

Artist	Title	Format	Label	Catalog #
PAPA LORD GOD	The Sheik Of Downfall Creek	LP	FEEDING TUBE RECORDS	FTR 382LP
$18.50 PREORDER RELEASE DATE: 6/15/2018 "Debut LP by Brisbane's brilliant Greg Hilleard, who we first heard when he was part of the incredible Lost Domain. The Sheik is a solo album that makes us think of a summit between the Gibson Bros and Parachute-era Eugene Chadbourne (or something equally far-fetched). Pretty amazing by any yardstick. Anyway, Greg had a few words he wanted to share." --Byron Coley, 2018 Here they are: Celebrating 200 years of rock n roll. Former "leader" of Brisbane's premier room-clearers Strontium Dog (apologies to PORK), whose one and only record is terrible beyond belief (all surviving members agree). Shortly after the timely demise of SD, Gregory was asked to sit in with the Invisible Empire -- Brisbane (possibly Australia)'s, number one improv juke jumpers. John Henry decided being named after a dodgy pope was not very RnR and promptly renamed him Papa Lord God (apologies to the deceased). Evidence of the first meeting of minds is on the sadly unavailable Jeezly Fishcakes cassette. The Grubbage album was also recorded around this time. At some point one of the other more urbane members suggested that being named after the KKK (smash the invisible empire) wasn't maybe the best idea for impressing foreign investors and the name was changed to the Lost Domain. For 20 glorious years we free rocked the bars and verandahs of Brisbane to little or no response. Then Dave died. The guru, teacher, leader and philosopher (pre-war RnR division) was no more. This didn't sit well with Papa. Working in a gang made for light lifting and, being naturally work-shy, a solo thing wasn't really on the cards. Depression, madness and homelessness ensued. A period of semi-Calvinist sobriety followed (not recommended). Slowly muscles were stretched and strings were bent. A strong urge to avoid "tuneage" meant there would be no "writing". Freedom was the score and sound the means. Here is the first evidence for the prosecution/defense: Acoustic tracks recorded mostly first thing in the morning, in bed (Hello Furry Lewis!). Electric guitars recorded at the SweatLodge. Freedom yelps from the creek. Wordless protest. Dig in...

Artist	Title	Format	Label	Catalog #
DEAD MOON	Dead Moon: The Book	2LP/BOOK	MISSISSIPPI RECORDS	MRP 101LP
$95.00 PREORDER RELEASE DATE: 6/15/2018 Delayed... "Dead Moon were a DIY band, active for 19 years. Singer and guitarist Fred Cole was playing music since the early 1960's -- beginning his career as 'Deep Soul Cole - the white Stevie Wonder', then joining the psychedelic garage rock band the Lollipop Shoppe / The Weeds. In the 70's and early 80's Fred and Toody Cole played in various punk, country and hard rock bands. In the late 1980's, they formed Dead Moon with Andrew Loomis. This band went on to become mythic and legendary. They lived by a DIY code built around superstitions and avoidance of conventional music industry pitfalls. Their story is completely unique amongst the pantheon on rock bands -- a group who never sold out, never gave in and built a legacy of art and community piece by piece in a sustainable way almost unheard of. The book is a tribute to their unique aesthetic, unbelievable twisted path of a story, and roll as pioneers of the Portland music scene. The book tells the entire Dead Moon saga in the words of the band itself. Just the voices of Fred, Toody and Andrew. It includes a complete illustrated discography of everything Fred, Toody and Andrew have released, song lyrics, and TONS of band photos, flyers, and weird ephemeral stuff. Lots of it has never been seen by the greater public. The package also includes 2 LPs of the 'best of' Dead Moon -- lovingly remastered from the original tapes. First edition is ultra-deluxe, using great faux leather and cloth. Very sturdy construction. Shrink wrapped. Authors/Editors: Fred Cole, Toody Cole, Andrew Loomis, Szim, Erin Yanke and Eric Isaacson; 12.5 x 12.5-inch cloth and leather bound hardcover 300-page full color art book. Die cuts embedded."

Artist	Title	Format	Label	Catalog #
FRITES MODERN	6 MET	10"	SONIC RENDEZVOUS	MET 103LP
$26.50 PREORDER RELEASE DATE: 6/15/2018 Sonic Rendezvous presents a 35th anniversary edition of the punk classic 6 MET by Frites Modern from Amsterdam. 6 MET was released on cassette in 1983, it became a great success and ended up being the best-selling Dutch indie cassette ever. 6 MET contains, amongst other tracks, the ultimate punk version of Sesame Street and Bionic Adventure, which ended up on compilation albums several times over the years. "Your speakers are running wild: arrow-fast riffs, a screeching solo and vocals to kiss. Frites Modern works according to the old craftsmanship of the songsmith, with exciting verses and beautiful choruses. An ode to The Undertones." --OOR Magazine no. 10, May 21, 1983

Artist	Title	Format	Label	Catalog #
APOSTILLE	Choose Life	LP	UPSET THE RHYTHM	UTR 090LP
$21.00 PREORDER RELEASE DATE: 6/15/2018 LP version. Alongside running his own acclaimed DIY record label Night School Records, Glasgow native, Michael Kasparis has spent the last few years making forays into the realm of hardcore punk with his groups Anxiety and The Lowest Form. Throughout all this, his solo electronic venture, Apostille has continued to evolve with each twist and turn of the world. His audacious 2015 debut album Powerless self-released through Night School set the template by hooking up his honest delivery to some manic expositions in electronic pop. At once minimal and courageous with intent to connect, Apostille songs race off with unchecked abandon, skittering drum machines, thick walls of sequenced synth and decidedly elastic basslines. Choose Life is both the album Apostille chose to make and had to make. He dialed down the clown, built up a new-found confidence in his voice and melody in general, and began to feel more at home in the refuge of pop music. Recorded with Lewis Cook (Happy Meals, The Cosmic Dead) at his home studio Full Ashram, Choose Life came together in serial fashion through 2017 with Kasparis calling in when each new song was ready to commit to tape. "Fly With The Dolphin" opens the album like a cork rocketing from a bottle, dashing to the horizon with a rampant beat, synth pop throttle, and acidic edge. Melody and purpose is pushed to the fore, backed to the hilt by some brutish rhythmic production. "Feel Bad" is similarly equipped, with Kasparis sounding more himself than ever. Nothing is cloaked in reverb, obscured or distorted, this is Apostille in the broad daylight, ambitious, open-armed and vulnerable. This is pop music as redemption, the drawing of a line, songs that step anew unto the dawn. In parallel to this emergent resolution there's also an acknowledgement of dissonance in many of the tracks, including "The Mordant", "Without Me", and "In Control", that turn a cracked mirror back onto Kasparis. The effect is often nightmarish and threatens to overwhelm, yet as the songs advance a certain deadpan humor leaks through the exaggeration leaving the punch cushioned. "Thirteen Minutes" relies on a similar transgressive approach. The electronic hand claps sting, the bassline continues mercilessly ever forward. The act of always becoming, never arriving is at the heart of Apostille, the project only exists in a state of flux, mutable and moving in both senses of the word. Mastered by Mikey Young.

Artist	Title	Format	Label	Catalog #
DALTON, KAREN	The Karen Dalton Archives Box	3LP/4CD/DVD BOX	MEGAPHONE	MEGAUK 030BOX
$130.00 PREORDER RELEASE DATE: 6/15/2018 The Karen Dalton Archives Box includes for the first-time ever on vinyl: the 1962 double live album Cotton Eyed Joe remastered (on two LPs) and the 1963 home recordings album Green Rocky Road remastered. Also includes three CDs of the same material along with one CD of unreleased home recordings which includes a mesmerizing take on "God Bless The Child". Includes a 52-page book with scans of Karen Dalton Personal Archives (writings, photographs, memos) disclosed here for the first time. DVD of a film interview of Greenwich Village Folklore Center founder (1957-1973) Izzy Young by Megaphone label's Stéphane Bismuth about the Greenwich Village folk scene and Karen Dalton; Double-sided DVD with one side NTSC format/one side PAL format Includes digital download card. Press about Cotton-Eyed Joe (1962/2007) and Green Rocky Road (1963/2008): "All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker." "Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of 'Katie Cruel' on In My Own Time has been hailed as definitive but she improves it here. Bewitching." "Proving her masterly command of both the material and the audience." "Using her uncluttered fingerpicking and keening phrasing to a reimagine a pair of lesser known Ray Charles* numbers to devastating effect." "Sounds great. The set captures a side of Dalton that her original releases never could. Such a personal statement it's far more challenging." "An invaluable treasure*" --Pitchfork, 8/10.

Artist	Title	Format	Label	Catalog #
INDEX	Originals Vol. 1 (1967-68)	LP	LION PRODUCTIONS	LION 176LP
$25.00 PREORDER RELEASE DATE: 6/15/2018 "All of the original compositions from the band's two self-released holy grails of psychedelia (the Black Album and the Red Album, from 1967-68) combined into one collection -- all newly transferred from the original tapes! Most of you have no doubt heard of records that have been touted as 'mind blowing', 'fuzz monsters', or 'lost/undiscovered classics'. The raves rarely turn out to be justified. That's certainly not the case with the music of Index -- if anything, the raves underplay the essence of the band's music, which is seething with cavernous reverb, snaky guitar lines, and downer lyrics. It is fantastically minimalist, starkly atmospheric, and sprinkled with ferocious guitar work. In the mid 1960's, Detroit Michigan was a thriving industrial city. But the great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in those affluent suburbs just outside Detroit, that Index was formed. The music of Index has been lauded by (and bootlegged by) music heads for decades, and with good reason: it is unexpected, atmospheric, and 'home-made' in the best of all possible ways. The band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. And in there amongst the echoing canyons of sound you'll find some snotty post-punk attitude wrapped up in all that trippy velvet fuzz. It's a wonderful bleak sound, droning and murky and introspective -- the atonal side of late 1960's rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock... you know, artists like Joy Division or the Fall or Felt to name three out of a thousand. Includes a 4-panel color insert, written by Index drummer Jim Valice, detailing the band's rock and roll adventures, replete with rare photos."

Artist	Title	Format	Label	Catalog #
VA	The Best Place to Go! Go! Vol. 2	2LP	SONIC RENDEZVOUS	SRV 061LP
$42.00 PREORDER RELEASE DATE: 6/15/2018 The Amsterdam BeatClub 15th anniversary album: The Best Place To Go! Go! Vol. 2. An outstanding, two record-set presenting the very best bands and artists that performed at Amsterdam BeatClub from 2003-2018. You'll find the best in garage, rock n' roll, surf, beat, etc. ever to be combined on one record. Includes a wicked 16-page book full of photos, rare flyers, full-length stories and inside information about 15 years of Amsterdam BeatClub. Edition of 750. Features Meschiya Lake & The Little Big Horns, The Uppertones, The Wiseguyz, The Rhythm Shakers, The Rhum Runners, Rosie Stevens with Dry Riverbed Trio, Surfer Joe & The Deadrocks, The Spunyboys, The Real Gone Tones, The Paladins, Lil' Sal & The Wildtones, The Velvedettes, Black River Four, The Phantom Surfers, Messer Chups, Ixtahuele, Working Voodoo Club, The Stangs, Max Meser, The Spinshots, The Reaction, The Works, Mark & The Spies, Labretta Suede & The Motel 6, The Jackets, Sir Bald Diddley & His Ripcurls, The Beat Girls, The Courettes, The Kik, The Kryng, Julia P. & The Hengles, and Bruut!.

Artist	Title	Format	Label	Catalog #
MAZOZMA	Stark Joy	LP	FEEDING TUBE RECORDS	FTR 367LP
$18.50 PREORDER RELEASE DATE: 6/1/2018 "There is something very special about the sound of a bummed-out smart person alone in a room somewhere (studio or not) with just their guitar for solace. Many killer examples of the form exist -- Skip Spence's Oar (1969), Pip Proud's Adrenaline And Richard (1968), Roy Montgomery's 324 E. 13th Street #7 (1999), and so on. All of these records shine with very special darkness. To this list, I submit the new Mazozma LP, Stark Joy. Kentucky ex-pat, Mike Turner has been using this recording handle for a while. We did one previous album with him, Heavy Death Head (FTR 268LP, 2017), and like most of his solo work we've heard, it was a blasted lo-fi ramble through fields of destroyed form. Elegantly crafted, but so utterly fucked-up, it could make you feel dizzy. Stark Joy is a horse of an entirely different color. The music here is song-based, only strange in its detailing, and more straight ahead than any Warmer Milks fan would dare dream. Still, the ineffable Turner genius shines through like a lighthouse in a shitstorm. Recorded on an iPhone, probably nude, Turner's songs here contain a world of folk-longing, played with an all-mid-range approach that broadcasts deep spiritual weariness with the best of them. I could start name-checking the hordes, but I'll spare you. People familiar with Mikey's work will be struck by how straightforward and outright pretty his melodic constructions and guitar figures are. Those who are new to his work will just dig how open the album is. It's the kind of record that gives you a certain amount of comfort if you're wrapped up in your own personal storm. Conversely, if you're feeling good, you can focus on the vaguely upbeat tone that eventually suffuses everything. Having a hard time getting it off the turntable. It's that kind of record. Deeply personal in a certain way, but one which leaves it available to infinite interpretation, depending entirely on the listener. In a word -- interactive. As fuck. Get it today." --Byron Coley, 2018 Co-released with Mystra Records. Edition of 200.

Artist	Title	Format	Label	Catalog #
OISEAUX-TEMPETE & THE BUNNY TYLERS	The True History Of The Tortoise & The Hare According To Lord Dunsany	CD	RUPTURED	RPTD 023CD
$14.00 PREORDER RELEASE DATE: 6/1/2018 The Bunny Tylers is a duo from Lebanon whose core consists of two prominent musicians from the Beirut scene: singer-songwriter and guitarist Charbel Haber and multi-instrumentalist and producer Fadi Tabbal. Their first two releases, Glitches & Drones 2013-2016 (RPTD 016CD, 2017) and Chance Meetings (RPTD 020CD/LP, 2018), were released by Lebanese indie label Ruptured. The music of French free-rock collective Oiseaux-Tempête is bred from places in turmoil. Embracing the freedom of improvisation, theirs is a secular music that crosses boundaries and cultures, embodying an intersection where post-rock, jazz, Arabic music, punk, and experimental electronic music find common ground and refuge. Through their elegiac musical constructions, Oiseaux-Tempête hope to bear witness, to create sense and be a part of the world, obstinately refusing the catastrophe. Rather, they seek to grab hold of the present, cradling it and letting it breathe, breaking through to the obscure "now", creating geographic and temporal bridges. The band's recent album, AL-'AN!, was recorded in Beirut in 2016 with a host of local musicians (SR 440CD/LP). Toward the end of their stay in the Lebanese capital, Oiseaux-Tempête played a concert with Charbel Haber and Fadi Tabbal from The Bunny Tylers. Ruptured now release the result of this collaboration, recorded on May 19, 2016. Edition of 300.

Artist	Title	Format	Label	Catalog #
SCREAMIN' JAY HAWKINS	Baptize Me In Wine	LP	WAX LOVE	WLV 82062LP
$16.50 PREORDER RELEASE DATE: 6/1/2018 In a long line of rock and roll outsiders hailing from Ohio, Screamin' Jay Hawkins may very well be the first. Born and raised in Cleveland, Hawkins' 1956 single "I Put A Spell On You" is one of the most instantly recognizable songs in the history of R'n'B and rock. Baptize Me In Wine compiles that classic track along with 18 other specimens of pure, unhinged, guttural R'n'B madness into what is sure to be considered the definitive Hawkins collection on the vinyl market. Most tracks were originally released as singles on the Okeh label except for the last four, which are outtakes from the first album. Before Devo, before Pere Ubu, before Guided By Voices, there was Screamin' Jay. There really must be something in the water out there.

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