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GONE 196LP
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"It's been nearly a decade since Montreal's PYPY landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass, and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger 'She's Gone' carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial 'next level.' Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present, but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in one's hair."
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GONE 098LP
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"Sometime in the winter of 1989-90, I wandered into New York City's Midnight Records, a store famous for its deep catalog of '60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos' then-new album Go the Hack? This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music -- well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing? They were the real deal before the deal was dealt. And they couldn't care less. The Psychos enjoyed a long run through the '80s and '90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever -- still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne's esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them." --Eric Friedl, Oblivians/Goner Records
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GONE 198LP
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"Naarm/Melbourne, Australia has been churning out reliable punk rock since the likes of The Chosen Few and Rowland S. Howard were kicking about in the late '70s. Split System are a band that carry on this tradition into the 21st century. Cooked up behind the scenes in the COVID lockdowns, they seemingly came out of nowhere but sounded like they'd been slamming beers to Saints and Radio Birdman records together and playing gigs for many years. Their Vol. 2 is unmistakable Aussie high voltage proto-punk. In their short time on the scene they have demonstrated a knack for combining muscular street punk with classic rock hooks. Their debut album Vol. 1 and follow up 7" were described as ferocious and powerful records with amphetamine swagger. They're high energy and don't believe in muddy guitar tones. The band are in their element during their raw live shows. They have shared bills with the likes of Amyl & The Sniffers, Cosmic Psychos, Civic, Bad//Dreems, Hard-Ons, CLAMM, Cable Ties, and C.O.F.F.I.N.."
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GONE 189LP
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"Goner Records presents Harahan Fats, an extraordinary posthumous album by King Louie Bankston (December 18, 1972 - February 12, 2022). The collection showcases an American artist at the pinnacle of his musical and personal identity. An aural roadmap to South Louisiana that's imbued with personal mythologies and blurry, beer-soaked and drug-skewed memories, Harahan Fats was recorded over a four-year period that culminated in mid-October 2021. As co-founder and drummer of the Royal Pendletons, Bankston recorded with power-pop legend Alex Chilton. He picked up a Gibson Flying V for his work in Bad Times, a garage rock supergroup that Bankston helmed alongside Eric Oblivian and Jay Reatard. In the 1990s, Bankston channeled his energy into bands like the Persuaders, Intelligenitals, the Clickems, Harahan Crack Combo, and Gerry And The Bastard Makers. At the dawn of the new century, he founded the legendary King Louie One Man Band. In 2000, Louie pulled up stakes in New Orleans and moved to Portland, Oregon, where he joined the power-pop punk band The Exploding Hearts. Bankston wrote many of the songs and played keyboards on their only album, the highly acclaimed Guitar Romantic, released mere weeks before three members of the band were killed in a van wreck, and recently reissued by Third Man Records. Bankston then landed in Memphis, where he formed the Loose Diamonds, a ramshackle bar band, with Jack Oblivian, Harlan T. Bobo, and Gary Wrong. With guitarist Julian Fried, he formed Missing Monuments and Black Rose Band, founded a New Orleans biker-rock band called Kondor with Mr. Quintron, and reconnected with Exploding Hearts guitarist Terry Six for Terry And Louie."
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GONE 194LP
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"Less than twelve months on from the triumphant rock 'n' roll record that was Stained Glass, Australia's most tasteful sonic culinary artiste Jake Robertson serves up The Derivative Sounds Of, another platter in his never-ending, ever-extending Alien Nosejob banquet. Since initially firing out similar flavors on his first offering, Alien Nosejob has conquered the challenges of disco, hardcore, new wave, rock and roll (all drowned in his characteristically sweet sense of humor) before finally returning back to his musical roots: the jangly, adolescent feel of 1960s garage. After one of Robertson's first bands, The Frowning Clouds, reunited for a few shows in September 2022, he found himself digging up old songs and riffs from the period, some spanning back to as early as 2006 and up until around 2012. This record features many of those song ideas -- some reworked, some rewritten, some exactly the same. All together now as one hot package. Leaning into his musical tastes from the Clouds' period of existence, Robertson digs up inspiration in some teenage staples: The Troggs, Mike Furber, the under-appreciated bands that make up the Shutdown '66/Back From The Grave compilations, without overdoing the sugar, salt, MSG, whatever one wants to call it. This record was recorded by Robertson all by his lonesome over a weekend in his garage. There's no paisley shirts, no skinny-ties, no winkle-pickers, no slim-fit suits and no haircuts -- just Robertson and his 1964 MacBook Pro. Garage rock revival is a sound that's often overdone, drenched in nostalgia and small-minded attitudes, but this album is not just a throwback to the sounds of yesterday. It doesn't belong with the golden oldies or the usual garage resuscitations. Goner Records is proud to present, The Derivative Sounds Of, the sixth piece of Alien Nosejob's eternal buffet and the 'all you can eat' of record titles."
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GONE 193LP
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"From his first self-released album in 2001, through sixteen more, over thirty singles, and collaborations with the likes of King Khan, Mark Sultan, Jon Spencer, Deke Dickerson, and the 5.6.7.8's, Bloodshot Bill has parlayed his unique blend of rockabilly, R&B, and garage rock into feverishly prolific productions that tap into the very roots of mutant rock and roll. As his reputation has grown, Bloodshot Bill has been deemed a rockabilly wildman, a primitive, a seminal punk, a throwback to the wild '50s, and the deranged spirit of psychobilly madness. His latest album, Psyche-o-Billy, on Goner Records, exudes raw energy and authenticity via a frenzied, stripped-down soundscape that defies all rules and descriptions. Written during the COVID-19 pandemic and recorded at Bloodshot Bill's home studio in Montréal, Québec, Psyche-o-Billy is equal parts joyous, moody, plaintive, searching, and deeply steeped in that old weird America documented via the otherworldly tunes captured on Harry Smith's Anthology Of American Folk Music."
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GONE 192LP
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"In a just world, Song Machine, the fifth full-length album from The Exbats, which arrives via Goner Records, would become one of the most-loved and most-listened to albums of the 2020s. With the thirteen-track album, the Bisbee, Arizona-based band further their analog back-to-the-future combination of the Shangri-Las and pre-Velvet Underground doo-wop wannabe Lou Reed, churning out catchy tunes laden with buoyant choruses that rank alongside the best A-sides recorded in the shadow of the Brill Building or with the Wrecking Crew in tow. The Exbats are effortless time travelers -- this time, they've set the dial for the early 1970s, incorporating the sonic magic of The Partridge Family, Muswell Hillbillies-era Kinks, and Brian Wilson into the crux of their musical ethos, evident on tracks like the propulsive 'Riding With Paul' and 'The Happy Castaway,' which bookend the album. Inez McLain, namesake of the Monkees' wool-capped guitarist Mike Nesmith, has played drums and sung for The Exbats since she was just ten years old. Surveying the band's back catalog in relation to Song Machine, she adds, 'I always felt like our progression is similar to that of the Kinks -- starting off garage and punk and then becoming more deliberate about everything.' On this latest release, time stops altogether when Inez masterfully -- and wholly unselfconsciously -- evokes the remarkable harmonizing of Cher or Karen Carpenter at the height of their careers on two songs that unveil the raison d'être for The Exbats, and, thus, music lovers in general: 'Singalong Tonight' and 'What Can A Song Do,' which, together, anchor Song Machine while poignantly and audaciously celebrating the very act of singing itself with a sentimentality worthy of Muppets Movie-era Paul Williams. In a different world, either might inspire a viral revolution."
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GONE 191LP
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"Australia Stops was recorded in January 2023 at The Pet Food Factory studio with producer Jason Whalley (Frenzal Rhomb) behind the desk. A record that showcases a collection of diverse and gripping new works that highlight the band's evolution into more melodious, 1970s Australiana and boogie rock and roll. Frenzied, high-voltage guitars, thumping rhythms, flowing melody and clever, captivating lyrics exhibit an undeniable progression in composition and songwriting, while still unmistakably the C.O.F.F.I.N that fans worldwide have come to worship. For those who are no strangers to the Australian highways, "Australia Stops" may be best recognized as words donned on the back of truck mudflaps. To C.O.F.F.I.N, Australia Stops are words that became a polysemous idea and observation on Australian society, culture, art, politics and progression. 'When the city burns up you get out, when the flint hits shot you get down,' lyrics roared by Ben Portnoy, a look into 'idle-Australia,' the government action (or lack thereof) to social issues and the overarching notion of fear of change in this country. While the theme Australia Stops poses political questions and ideals, it also synchronously shines light on the eminence of community, the healthy beating heart of art and music, the beautiful landscapes and divergent nature surroundings held dear within Australia. With this, Australia Stops is neither a fully positive or negative elucidation of the country. It is a celebration of the things the citizens are lucky to have, while always trying to encourage and inspire those around them to try and do better."
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GONE 187LP
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"Whether it was fear of the trademark bogeyman emerging from small-hours infomercial hell or it was just time for a change, but the artist(s) formally known as Thigh Master is now Dippers. As they put singles and an album or two behind them, most guitar pop groups tend to shed any rough edges, exuberance, energy, propulsion and other associated special elements in the name of 'maturity,' 'increased focus on songwriting,' and other concerns that basically translate to a prolonged yawn. Thigh Master was always a strident, more rambunctious proposition, and this is carried over 150% to Dippers. For the first album under said moniker, (Thigh Master) founder and leader Matthew Ford (vocals, guitar, drums, bass, synth, percussion) is again joined by Innez Tulloch (vocals, guitar, keys, synth, bass, melodica), who is now Ford's principal songwriting partner. Longtime Thigh Master collaborator Dusty Anastassiou (Dag, Permits) provides some guitar action on a handful of tracks. Dippers' 2023 full-length, Clastic Rock for Goner Records, doubles down on Ford and crew's supernatural skill at something possessed by only a tiny handful of very special entities that exist under the voluminous banner of indie-jangle/pop: immediacy. The album is filled with stop-start dynamics that work to create hooks within hooks (a trick at which this band excels). Like a lot of new favorite albums, this one was recorded and conceived of (at least partially so) during the pandemic lockdowns. Though, if one sifts through the Thigh Master discography, one might notice that sporadic home recording sessions are not a new concept to the group. The intervals of ragged, jangly guitar riffs interspersed with waves of sonic mischief pulls from the sounds of stylistic historical royalty such as Television Personalities, pre-bizarro Wedding Present and the scrappier of C86/Rough Trade/Postcard Records quantities, classic Flying Nun (namely The Verlaines, The Bats, The Chills, 3Ds, Look Blue Go Purple) and the '80s/'90s groundwork laid by fellow Aussies The Go-Betweens, The Moles, The Cannanes, and the early years of Half-A-Cow Records (Smudge, Sneeze, The Plunderers, etc)."
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GONE 181LP
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"Based in Sydney, Australia and lead by the iconic Kel Mason, this band of maniacal rock 'n' roll miscreants has been blowing drooly-punk minds for the past few years with a rash of out-of-print records and ridiculous videos that have bounced around the proper channels of the internet underbelly. A white-hot set on the web-only Gonerfest 17 was greeted with cheers of joy, and ultimately re-issued as a cassette and LP. They made it over in full three-dimensional form for a completely unhinged US tour in 2022 culminating in a headlining spot at Gonerfest 19. Now, Goner is proud to unleash their new album -- Goodnight Neanderthal -- ten blasts of spazzy lo-fi attack, full of buzzy guitars, cheap synths and earworm hooks that demand to be sung in the shower. Or in the car. Or on a bike. Gee Tee rules. Get on board or get out of the way."
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GONE 183LP
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"Imagine a world apart from our own -- an agrarian utopia where the corroded cables of the 20th century lie in moss-covered heaps and the Mississippi River runs clear. New structures rise from the detritus, gnarled patchworks of the natural world and everything else humanity left behind. This is a world where Nirvana and NAFTA never happened, punk didn't break but bloomed, and guitars jangle in the breeze. This is the world of Ibex Clone and their new album, All Channels Clear. Formed by members of essential bands from the modern era of Memphis rock and roll, Ibex Clone reconfigures the paranoiac punk of Ex-Cult, NOTS and Hash Redactor into something altogether different, a vision of music from a timeline that split with ours a long time ago. Guitarist George Williford's dizzy six- and twelve-string explorations form a lush thicket for Alec McIntyre's fluid basslines to slip in and around, anchored by Meredith Lones' steady, driving rhythms. Williford's powerful vocal melodies ward off impending death and decay with visionary lyrics about humanity's place in the ecosystem, the balm of love and friendship, and the complex feeling of being alive in this version of the world of tomorrow. With All Channels Clear, Ibex Clone develops the woozy, folk-tinged post-punk of their excellent debut From Nowhere into a catchy, complex approach to the pastoral power pop of XTC, the Meat Puppets, and Guided By Voices. These ten beautiful tracks tunnel back through the shredded remains of folk, pop, blues and psychedelia to rediscover the real, the human, and the good in this world. Listen close and you'll hear the ramshackle chime of Big Star, the fingerstyle melodicism of John Fahey and Gimmer Nicholson, and the wild experimentalism of Amon Düül II. Ibex Clone doesn't offer an antidote or a soundtrack to a world in rapid decline, but instead a window into something much stranger and, maybe -- if one can find the path -- better."
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GONE 185EP
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"Following the highly acclaimed album Dream Violence (2021) and the recent LP re-issue of his modern underground classic Gravity/Repulsion, Michael Beach has announced a new self-titled 12-inch EP, to be released via Goner and Poison City Records. Recorded during the winter of 2021, the new record is made up of both 8-track tape and full studio recordings, interspersed with experimental, moody interludes, and features Beach's Australian bandmates Bonnie Mercer (guitar), Peter Warden (drums) and Carla Oliver (bass) throughout. The EP's stunning closer 'Only A Memory' is a collaboration with Lloyd Swanton of renowned Australian minimalist trio The Necks, recorded in NSW's Blue Mountains. 'Out In A Burning Alley,' the EP's lead single, combines Beach's soulful abstracted lyrics over two minutes and fifty eight seconds of blazing garage-rock, where the sounds of the Melbourne and Oakland/Bay Area underground collide."
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2022 repress. 2007 release. "The much-anticipated third album from Atlanta pop-edged punkers The Carbonas." "A taut, brilliant blast of both pop and punk. Given the record's running time, there's 'nary a wasted moment, riff or breath, as the band crams in a host of late-70s/early-80s Antipodean and East Coast rock influences, and strains those sounds through the Carbonas' distinctively greasy Southern sonic filter." --Bob Mehr, Commercial Appeal
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GONE 174LP
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"As anyone who worked in a record store from the late 1980s to the mid-1990s can relate, the two Shimmy Disc albums released by the Rev. Fred Lane were the weirdest, most bizarre, abstractly enigmatic releases any of them had ever heard. From the dadaist titles and surrealist cover artwork to the absurdly peculiar lyrics and dementedly brilliant musical bent that careened from country to jazz to Morricone-inspired Western soundtracks, From The One That Cut You and Car Radio Jerome bewitched listeners with Lane's eccentric take on music and, by extension, life in general. Early internet chat rooms and message boards were devoted to solving the mystery. For decades, rumors swirled about them. 'We would just stare at the album covers and kinda make up our own stories,' Eric Friedl of Goner Records says of the misleading recording notations, fictitious back catalogs, and vague artistic allusions that dropped mostly fake clues for Lane's most astute fans to decipher. Then, in 2013, Lane himself surfaced at the University of Alabama for an exposition. Seven years later, Icepick To The Moon, a documentary about Lane by filmmaker Skizz Cyzyk, premiered. The film, which took more than twenty years to piece together, filled in most of the blanks that had stumped generations of fans. Learning the details of Lane's albums doesn't change their inscrutability. The alternate Alabama universe that Lane and his compatriots conjured up -- in, of all places, the southern college football town of Tuscaloosa -- is a metaphysical place as vast and imbued with meaning as Faulkner's Yoknapatawpha. As Friedl raves, 'They're still different from any other record out there.'"
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GONE 175LP
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"As anyone who worked in a record store from the late 1980s to the mid-1990s can relate, the two Shimmy Disc albums released by the Rev. Fred Lane were the weirdest, most bizarre, abstractly enigmatic releases any of them had ever heard. From the dadaist titles and surrealist cover artwork to the absurdly peculiar lyrics and dementedly brilliant musical bent that careened from country to jazz to Morricone-inspired Western soundtracks, From The One That Cut You and Car Radio Jerome bewitched listeners with Lane's eccentric take on music and, by extension, life in general. Early internet chat rooms and message boards were devoted to solving the mystery. For decades, rumors swirled about them. 'We would just stare at the album covers and kinda make up our own stories,' Eric Friedl of Goner Records says of the misleading recording notations, fictitious back catalogs, and vague artistic allusions that dropped mostly fake clues for Lane's most astute fans to decipher. Then, in 2013, Lane himself surfaced at the University of Alabama for an exposition. Seven years later, Icepick To The Moon, a documentary about Lane by filmmaker Skizz Cyzyk, premiered. The film, which took more than twenty years to piece together, filled in most of the blanks that had stumped generations of fans. Learning the details of Lane's albums doesn't change their inscrutability. The alternate Alabama universe that Lane and his compatriots conjured up -- in, of all places, the southern college football town of Tuscaloosa -- is a metaphysical place as vast and imbued with meaning as Faulkner's Yoknapatawpha. As Friedl raves, 'They're still different from any other record out there.'"
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2021 repress. "Received a 7.5 rating from Pitchfork. San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, Melted. Segall says it sounds like 'cherry cola, Sno-Cones and taffy.' Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements. On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio in late 2009 to begin recording Melted. Friends occasionally dropped by to hang out and help--including Mike Donovan (Sic Alps), John Dwyer (Thee Oh-Sees) and Eric Bauer (Crack W.A.R.). The result is a carefree yet precise balance of acoustic and electric elements. Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted!"
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2021 repress. 2009 release. "Burying '60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live setup is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, Lemons is the natural next step after his celebrated self-titled 2008 debut on Castle Face." "Look out Jay Reatard, this Bay Area one-man band has even scuzzier static in his garage." --SPIN
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GONE 178LP
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"After the demise of the Ooga Boogas in the Before Time, the four band members went their very separate ways. Being in that band was such an intense high-pressure experience, some chillax time was well-deserved. Leon Stackpole aka Stacky recorded under the name Leon, Per Byström joined Voice Imitator, Mikey Young recorded with The Green Child and Richard Stanley played in Drug Sweat. All quite deserving projects, but it was Stackpole's solo outing that garnered the most interest from public and industry alike. The demand for live shows led him to recruit Byström from Ooga Boogas and a guy named Brad into his touring lineup. The trio was red hot, but inevitably the venues they filled required a fuller sound so Stackpole recruited Young as well on second guitar. The grueling touring schedule became too much for family-man Brad, so Stanley jumped in to fill his size 11s and off they went for another lap of regional Victoria. Eventually the question presented itself to this freshly minted foursome: should they continue as Stackpole's backing band or strike out anew with a fresh identity? The answer came in a moniker too electrifying to resist; a name as clever, enigmatic and indeed, as powerful as the band itself: Power Supply. Back in the shed, jams became songs, jokes became lyrics and long afternoons spent together became this record -- listen though, and one will hear life through the lens of Stackpole and the tactile tentacles of his pals. In The Time Of The Sabre-Toothed Tiger contains ten songs that listen so easy, one will barely notice when they're gone."
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GONE 176EP
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"By way of some cosmic miracle, only one Total Hell pops up when the band moniker is searched on Discogs. And that would be the band responsible for the five-song blast of heavy metal sounds at hand. Now active for about two years plus change and exported from the very metal and punk fertile New Orleans, Total Hell is DD Deth (aka Drew Owen -- Sick Thoughts wheelman, Trampoline Team etc.) on drums/vocals, Henry Hell (John Henry of Static Static, Heavy Lids) on bass/vocals, and guitarists Jason 'Panzer' Craft (Persuaders, Tirefire) and Michael Maniac (Michael He-man of Trampoline Team). If self-deprecation is beyond the listener's processing skills, then please know that as self-described purveyors of the 'New Wave of Shitty Heavy Metal', Total Hell's big-boy debut is not 'shitty' in any manner whatsoever. These four recordings ('Desecrate', 'Clones From Hell', 'Violator', and 'Disfigured') are melodic monstrosities that hit with a wall-to-wall, floor-to-ceiling hugeness, while doing so in an economical manner. There will be no mistaking this for Broken Bones screeching out of an iPhone inside the vegan squat. On the flip, this is no Bob Rock joint. DD Deth elaborates: 'Recorded on a Tascam 8-track cassette live at home (aka 'The Parkway') by Michael He-Man and the process was a nightmare. Original tape crapped out on us back in early 2020 so we had to redo the whole thing. Intros and interludes were done last minute by me with the cheapest midi keyboard on the net.' Well, color Goner Records impressed. One might get momentarily lost in the cavernous drums that introduce opener 'Desecrate', but soon the buzzsaw-riff-wall will crush one into a smudge on the bathroom floor. Without rocking some safety goggles and diving headfirst down a terminology rabbit hole, this is punk jumping into the sack with metal and leaving black boots on the bedroom floor rather than white high tops. Xmas came early for fans of Anti-Cimex, Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight, Venom, Broken Bones and... one gets the picture."
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GONE 171CD
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"Some records hit one with an instant impression of timeless brilliance, and Low Life's Dogging is one of those records, what the wise call 'an instant classic'. From Squats To Lots: The Agony And The XTC Of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: one's going to need some time with it. Iggy Pop's Bowie-produced studio rock masterpieces The Idiot and Lust For Life are important reference points to this third album. Here comes success! Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. Sip it, and sense the recurring brilliance of Mitch Tolman's lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. One wouldn't play this to a teenager. It's not for children. This is a mature flavor, one for the adults who have had to contend with failure and hardship, medical bills and disappointed family members, betrayed lovers and worrisome growths, police brutality and tooth decay, humiliating bowels and collapsed septums, detoxing and drying out, for those who have seen themselves as corrupted and putrid and unloveable, for those who endure all of this and aren't willing to lie down and cop it sweet: Low Life are still here and they ain't going nowhere."
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GONE 171LP
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LP version. "Some records hit one with an instant impression of timeless brilliance, and Low Life's Dogging is one of those records, what the wise call 'an instant classic'. From Squats To Lots: The Agony And The XTC Of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: one's going to need some time with it. Iggy Pop's Bowie-produced studio rock masterpieces The Idiot and Lust For Life are important reference points to this third album. Here comes success! Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. Sip it, and sense the recurring brilliance of Mitch Tolman's lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. One wouldn't play this to a teenager. It's not for children. This is a mature flavor, one for the adults who have had to contend with failure and hardship, medical bills and disappointed family members, betrayed lovers and worrisome growths, police brutality and tooth decay, humiliating bowels and collapsed septums, detoxing and drying out, for those who have seen themselves as corrupted and putrid and unloveable, for those who endure all of this and aren't willing to lie down and cop it sweet: Low Life are still here and they ain't going nowhere."
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GONE 173LP
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LP version. "On Now Where Were We, The Exbats hit the ground running like a dystopian garage rock version of the Shangri-Las, or like a message to the future from the pre-Velvet Underground doowop wannabe Lou Reed. The album rings bright, like a beacon in the wilderness: eminently, effortlessly catchy, and loaded with buoyant choruses that rank alongside the best chart-toppers launched by the Brill Building or Phil Spector's Wall of Sound. Kenny McClain and his daughter, vocalist and drummer Inez McClain, formed the nucleus of the Exbats over a decade ago, when Inez was just 10 years old; today, Bobby Carlson rounds out the group on bass. Despite their remote location in Bisbee, Arizona, just eleven miles north of the U.S.-Mexican border, the group quickly racked up accolades citing a wealth of influences that run from cartoon quintet the Archies to punk rock originators the Avengers, and from the so-sweet-it-hurts 1910 Fruitgum Company to Los Angeles antiheroes the Weirdos. Truthfully, The Exbats embrace a wider swath of musical styles, incorporating blue-eyed soul, tongue-in-cheek country, Brit pop, psych, and R&B into their sound. The McClains describe this album as 'more ambitious' than its predecessors. They tooled ninety minutes northeast to Tucson to record, per usual, with Matt Rendon at Midtown Island Studios. Months later, the Exbats emerged with an album imbued with harmoniously cautious optimism -- the musical equivalent but psychological antithesis to the Brian Wilson-Tony Asher masterpiece 'I Just Wasn't Made For These Times'. While Wilson was looking for 'a place to fit in,' The Exbats have found sanctuary via the brilliant 'Ghost In The Record Store,' which is 'for all of us who need the joy of a little bit of plastic making lots of noise." Like the best records to croon along with, Now Where Were We is captivatingly simple, yet hardly simplistic. The Exbats are singing from their hearts -- and they aren't afraid to bare their souls."
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GONE 118LP
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2021 repress. 1999 release. "Shortly after the release of Teenage Hate, the debut album from the Reatards, an 18-year-old Jay Reatard started working on a new album. He was spitting out punk rock anthems a mile a minute at this point, so a new record made sense. And what else was there to do? He'd quit school a couple years back so a normal day for Jay meant he was bumming around midtown Memphis winding people up. At this point, Eric Friedl had introduced Jay to Meghan Smith, via mail or phone or something. And they became fast friends. Smith and Blake Wright ran Empty Records out of Seattle, and the label made plans to release Grown Up Fucked Up. After a complete mess of a European tour with the Persuaders, Jay came back and recorded the album with some help from his girlfriend at the time (and future Lost Sounds bandmate) Alicja Trout. It soon became clear that there was a harder edge to everything. While Teenage Hate had been nasty, it was rooted in the Crypt / Oblivians scene of scuzzy rock, with covers of Fear, but also Buddy Holly. Grown Up Fucked Up was a power pogo into Killed By Death-style punk rock. The songs jumped off the record and grabbed you by the throat. They were passionate, ridiculous and utterly authentic. It wasn't too long afterwards that he put out the equally amazing 'Your So Lewd' single (now included on the album as well). Like everything Jay did, he did it his way. His recordings hold up because they are completely unique. He created a scene full of imitations, but no one duplicated him. Goner wanted to make sure they stayed true to Jay's aesthetic with the repress, so they didn't mess with it much. Smith sent over the original DAT recordings and the record was sourced directly from them. Kyle Johnson at Rocket Science Audio handled the transfer, and Jason Ward mastered to vinyl. Doug Easley took care of the digital mastering. The record was pressed at Memphis Record Pressing. Man, Jay would have loved that so much of this happened in Memphis. Goner is proud to put it out there again: Grown Up Fucked Up by the Reatards."
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GONE 172CD
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"With Bending The Golden Hour, the third album from Memphis, Tennessee's Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War. While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017's Last Nite In Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending The Golden Hour was recorded at the Horrells' Midtown Memphis home. The band turned over forty-three tracks to Goner co-owner Zac Ives, who handpicked seventeen songs for the album. The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape."
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GONE 172LP
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LP version. "With Bending The Golden Hour, the third album from Memphis, Tennessee's Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War. While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017's Last Nite In Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending The Golden Hour was recorded at the Horrells' Midtown Memphis home. The band turned over forty-three tracks to Goner co-owner Zac Ives, who handpicked seventeen songs for the album. The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape."
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