#Ty Segall & Mikal Cronin

[chemvewor]

Ty segall band tabs

#TY SEGALL BAND TABS SERIAL#

#TY SEGALL BAND TABS FULL#

I’ve played a lot of Quad Reverbs and the silverface Fenders are all over the place. What amps did you use on the record? Segall: My main squeeze is a ’72 Fender Quad Reverb. My main guitar now is a Les Paul with P-90s. I actually don’t have that guitar anymore. Instead of the original P-90 pickups, it had Seymour Duncan Antiquities in it. Emmett Kelly: The guitar I played on the record was a modified ’59 Les Paul Special. There’s no whammy bar or anything on the Les Paul, so I’ve had to step up my actual playing instead of relying on sound effects. Have you found that your style has changed at all since you got the Les Paul? Segall: With the Mustang, I was super-reliant on the tremolo bridge. It’s like a grown-up’s version of an electric guitar.įor his new album, Segall enlisted the skills of veteran indie-rock producer Steve Albini, who got beefy guitar tones and kept the tracking lean. The sustain is insane compared to the Mustang. The Mustang-it’s bright and twangy, whereas the Les Paul is full-bodied, resonant. What’s it like going from the Mustang to the Les Paul in terms of sounds? Segall: It’s like a similar thing with how it feels. It feels like a toy compared to the Les Paul. I wouldn’t say I’m technical or anything, so it’s funny, now going back to the Mustang-realizing it’s a three-quarter scale. I don’t know much about guitars really, and I’m not like a studied guitar player. Before that, I played a Mustang kind of exclusively. It’s totally beat to shit, but I love that thing.

#TY SEGALL BAND TABS SERIAL#

I play a ’69 Les Paul, but I got it looked at, and supposedly it’s a late ’50s one that just has a ’60s serial number. I chatted to Segall and Kelly about the period-correct gear they used in creating those sounds, how Albini captured them perfectly in the studio, and how their home state of California plays into all of this. Joined by guitarist Emmett Kelly, multi-instrumentalist Mikal Cronin, drummer Charles Moothart, and keyboardist Ben Boye, Segall continues to explore pre-1980s sounds on the recording while stretching out with extended jamming and clearly relishing the energy of leading a live band.

#TY SEGALL BAND TABS FULL#

Segall recorded with a full band for the first time on his latest album, which is also called Ty Segall. “I’ve played with people where you’re both racing each other to the finish line or some shit like that, and that’s totally wack.” -Ty Segall He approaches the guitar in an appropriately non-schooled way, getting maximum mileage from a select palette of harmonic and melodic sources, all with great frenzy and groove. Since releasing his self-titled debut in 2008, Segall has played most of the instruments on his albums. But over the past decade, working solo and with various bands in the Bay Area and Los Angeles, he’s already created an impressive body of work that neatly synthesizes the sounds of his wide-ranging 1960s and ’70s influences: surf and garage rock, and early metal, among others. Segall, a native of Laguna Beach, California, isn’t yet 30. Segall’s label, Drag City, posted a video of the act (the YouTube search term is “A Flush Down the Tylet”) to its website without any explanation, but this weirdness was hardly surprising coming from a musician known to perform onstage in an elaborate satanic baby costume. Albini pushed the porcelain bowl, emblazoned with Segall’s name, off a loading dock, causing it to shatter into many pieces, and Segall finished off the job with an axe. Last November, singer-songwriter and guitarist Ty Segall smashed a toilet with the help of the legendary producer and engineer Steve Albini.

[paulisded]

Live Ledge #406: Best Albums of 2019

This was another great year in music. So great, in fact, that many hours were spent narrowing down the year's release into the standard Ledge format of the 40 best albums of the year. In particular, it was a year that really saw a resurgence in anthemic power pop. It was also a year that saw a number of psych-rock bands so widely expand their sound and songwriting that a two-record set was necessary. Here's my list, and look for another similar post featuring the great reissue and box sets of the year.

1. Mikal Cronin, Seeker. Every year there is a record or two that deserves to find an audience outside of its typical subgenre. This year it’s the latest by Mikal Cronin, a stunning record that retains the psych-rock template of his past yet showcases a giant leap in songwriting. This record should be all over mainstream rock radio.

2. Bob Mould, Sunshine Rock. After a handful of records featuring dark, ferocious rock closer to his Husker Du days than his more poppy records with Sugar, Mould’s latest finds him possibly as close to happy as we’ve ever seen him. Ok, maybe happy is too strong of a word. Whatever it is the attitude is different, although still accompanied by his trademark buzzsaw guitars.

3. Pernice Brothers, Spread the Feeling. The most welcome comeback of the year. Every band featuring Joe Pernice seemed to acknowledge one major influence missing from most Americana bands and that’s his love of ‘80’s college rock. Just imagine a country-tinged power pop band that clearly loves Echo & The Bunnymen, The Smiths, and Lloyd Cole.

4. The Muffs, No Holiday. Such a tragedy. Two years ago, Muffs leader Kim Shattuck suddenly found herself unable to grip a guitar. It turned out to be ALS. Determined to finish one last album she gave all she could even as she quickly deteriorated from the disease. Eventually she was leading recording sessions while connected to a breathing tube. Sadly, she died less than two weeks before the release of one of the band’s best albums.

5. Purple Mountains, Purple Mountains. Purple Mountains was David Berman’s first project since the demise of Silver Jews in 2019, and it was a stunning display of his quirky songwriting skills. Unfortunately, the personal demons that had always been present in his art turned his big comeback into a tragedy, as he took his life just weeks after the record was released to glowing reviews.

6. The Resonars, No Exit. In a year that saw power pop rediscover its balls, The Resonars proved they always had their share of testicular fortitude. And it’s all the work of one man, Matt Rendon, who has over the last two decades created six albums of this sort of catchy but raucous power pop.

7. Kiwi Jr., Football Money. Power pop’s closest relative just has to be jangle pop, and both genres are at its best when the songwriting is as catchy as a late ‘70’s Nick Lowe single. There’s hooks galore on this Toronto band’s debut release.

8. Wand, Laughing Matter. There’s always been a bit of a fine line between psych and prog, and those lines have definitely narrowed in today’s crop of prog-rockers. One proof is the return of the double album, which every psych band seemed to release in 2019. The strongest record of that sort may have to be Wand’s fifth record, which succeeds by actually stripping back their sound a bit.

9. Wreckless Eric, Transience. It’s been a real treat to see the resurgence of Eric Goulden in the last few years, as album after album have ranked as his best ever. The latest sort of comes closest to his solo performances, as he lays tracks and tracks of both clean and enhanced acoustic and electric guitars over backing tracks laid down by Amy Rigby, Cheap Trick’s Tom Petersson, jazz horn player Artie Barbato, and The Rumour’s Steve Goulding.

10. Tim Presley’s White Fence, I Have To Feed Larry’s Hawk. Presley reportedly spent four years recording what may be the masterpiece of his career. How to describe the finished product is not easy, though, as various influences and sounds flow in and out of each and every track, yet there is an intimacy here that makes it feel like Presley just whipped up this musical cocktail in one long, intense evening.

11. The Cowboys, The Bottom Of A Rotten Flower. Good old punk-influenced straight up rock and roll. Nothing more, nothing less. And when it’s as good and as catchy as this it doesn’t need to be anything else.

12. Twin Peaks, Lookout Low. Five years ago, this Chicago-based band’s fabulous record Wild Onion was described by one of the band members as heavily influenced by Exile On Main Street. This record’s classic rock influence appears to be the first two records by The Band. That’s not to say they sound anything like either the Stones or The Band. No, in this case there is a laid back feel to their guitar-based indie rock that feels as if it’s straight out of a Woodstock basement.

13. The Dates, Ask Again Later. Garrett Goddard has been a member of a number of bands over the years, including King Tuff, Personal and the Pizzas, and The Cuts. His first record heading The Dates may have just topped anything else he’s ever worked on in the past. The melodies and hooks just melt in your ears, and the musical accompaniment throws The Byrds, Big Star, Shoes, Smithereens and seemingly a dozen other bands into the greatest blender ever invented.

14. Wilco, Ode To Joy. After Tweedy’s pair of solo acoustic records, I think I was ready for a full blown rock and roll Wilco album. It has been a while, right? Unfortunately, Ode To Joy comes off as a full band version of those solo records. Don’t get me wrong. It’s good. It’s very good. It just wasn’t what I needed from a 2019 Wilco album.

15. Guided By Voices, Zeppelin Over China. Another year, another trio of Guided By Voices records. Their second wind as a band has been nothing but stunning, as evidenced by this double album of almost nothing but anthems.

16. Tijuana Panthers, Carpet Denim. Every year there seems to be a new band that showcases elements of surf rock in their punk-influenced lo-fi garage sounds. What a shocker to find out that this is their sixth album! What sets them apart from others like them, besides the strength of their songwriting, is the ocassional elements of doo wop harmonies. Who knew that The Buzzcocks and Dion could co-exist in the same song?

17. Peter Perrett, Humanworld. After no new tunes for over 25 years, we now have two records in three years by the former leader of The Only Ones! Like 2017’s How The West Was One this record succeeds simply because Perrett isn’t trying to recreate the glory days, nor is he attempting to jump on current trends. Instead he accomplishes what real artists do, which is to create a sound that fits the song.

18. Frankie and the Witch Fingers, ZAM. Another great psych rock double album that incorporates and combines all sorts of atypical influences, including kraut, prog, and even a little funk.

19. Sweet Things, In Borrowed Shoes, On Borrowed Time. It may be hard to find a more varied rock and roll album than this debut record, as it jumps around from blues to soul to country to glam rock. There’s cameos by Alejandro Escovedo and members of The Uptown Horns. It’s the most ambitious trashy garage rock record I’ve heard in quite some time.

20. Cherry Pickles, Will Harden Your Nipples. As their bandcamp states, “one guitar, two drums, the basement band you always wanted to start”. This trio proudly combines all sorts of “outsider art” into a minimalistic sound that would certainly impress the namesake of the record’s best song “I Still Miss Lux”.

21. Ty Segall, First Taste. The prolific singer/guitarist was a bit quiet this year, actually. Well, for Segall a quiet year is one that only features a studio album, a live album, and a box set of outtakes. What makes his only new record of the year stand out is that there reportedly is not a guitar to be found on it! No, it’s not a synth-pop record. In fact, it ultimately isn’t that much different than what we’re used to hearing.

22. Pale Lips, After Dark. Gotta love snotty, hook-driven garage-punk that’s clearly inspired by major doses of The Muffs and The Ramones mixed with spoonfuls of surf and Spector-era girl groups.

23. The Darts, I Like You But Not Like That. This record was not what I expected. At all. Who would have predicted that Alternative Tentacles would put out such a sexy collection of horror-punk?

24. CTMF, Last Punk Standing. Nobody has so proudly hosted the flag of ‘60’s garage-punk as Wild Billy Childish. Well, “proud” is probably not the correct word to use, as Childish is as cantankerous as The Fall’s Mark E. Smith. Yet he consistently puts out records full of simple yet catchy guitar anthems, and this one is no exception.

25. Jordan Jones, Jordan Jones. What happens when you take the pop/rock highlights of ‘70’s AM radio and ramp it up a bit with power pop energy? You get this wonderful debut record.

26. The Mystery Lights, Too Much Tension! A melting pot of different styles rarely mesh well, but this New York band’s second album somehow manages to roll in and out of genres. A synth track leads into a homage to the Stooges which is then followed by a ‘60’ dance party. How do they get away with it?

27. Juliana Hatfield, Weird. It’s only fitting that an album dominated by a theme of being a lonely introvert would be created by one artist playing almost every instrument. That’s the case of the latest Hatfield collection of originals, and it’s one of the best of her career.

28. Kevin Morby, Oh My God. Rolling Stone recently described the Kansas City native as a “secular guy with a spiritual side”, and that’s never been more evident than on his fifth album. RS goes on to compare this record to Dylan’s gospel years but it’s actually more similar to a record like New Morning, where Biblical imagery is referenced but not necessarily the main topic.

29. Drahla, Useless Coordinates. Post-punk also made a comeback this year, and one of the best purveyors of that sound is this trio of Wire fanatics. And like Wire there’s a bit of a ferocity in this record that’s missing in much of their post-punk cohorts.

30. Gino and the Goons, Do The Get Around. Take Chuck Berry, The Sonics, Motorhead, The Ramones, The Stooges and a few other “rawk’ legends and toss them into a blender and you get the dirty sound that Gino and the Goons have mastered over the course of five records. You know what you’re getting from these guys, but they always deliver.

31. Young Guv, Guv I & II. The side project of Fucked Up guitarist Ben Cook could be described as a lo-fi tribute to bands such as Big Star and Teenage Fanclub. But then out of the blue comes a synth tune that’s almost danceable. It’s just part of the charm of this double record.

32. Ravi Shavi, Blackout Deluxe. Some records are sleepers. They don’t work the first time you hear them. They may not even work on the fourth or fifth airing. Then suddenly you can’t stop listening. That’s the case with this new wave-influenced, Prince-obsessed, garage rock group.

33. ATOM, In Every Dream Home. Just like the previous record, ATOM didn’t work for me at first. Then suddenly I had to race to the stereo to crank up the volume. What changed? Well,it helps when the musicians are Australian indie rock heavy weights led by Crime and the City Solution’s Harry Howard.

34. Geoff Palmer, Pulling Out All The Stops/Brad Marino, Extra Credit. (Tie) I can’t possibly vote for one of these records to be higher than the other. The pair both were members of the The Connection and The New Trocaderos. Both of them are veteran power pop performers who have written more than their share of catchy tunes. And both may have put out the records of their careers.

36. Honey Radar, Ruby Puff Of Dust.. A lot of reviews of this Philly band compare them to Guided By Voices, but I honestly don’t understand why. Yet it’s what made me check them out, and I do appreciate their fuzzy psych-rock sound.

37. Titus Andronicus, An Obelisk. Produced by Bob Mould and recorded at Steve Albini’s Chicago studio, Titus’ sixth album is their most straight ahead to date, although as always leader Patrick Stickles’ lyrics are open to interpretation.

38. The Dream Syndicate, These Times. While most band reunions never result in worthwhile albums (or any new music at all), there are instances where the second run rivals the first. That’s the case with these leaders of the mid-’80’s “Paisley Underground”, and it’s mainly because they refuse to just rest on their laurels.

39. Jesse Malin, Sunset Kids. The teaming of Malin with Lucinda Williams may seem like a head scratcher, but it actually works! Not only does Williams produce the album, she duets with him on a handful of the album’s tracks. The end results may be quieter than a typical Malin album but the tunes are also as strong as a typical Malin album.

40. More Kicks, More Kicks. Haven’t I said that this was a year for great power pop? Here’s another one. This time it’s a UK group, and like the others I’ve highlighted there’s nothing wimpy here. It’s pop music that absolutely rocks.

After listening, please go purchase those tracks you enjoy! You can find this show at almost any podcast site, including iTunes and Stitcher...or

CLICK HERE TO DOWNLOAD THE SHOW!

Note: Tracks from the albums listed above were presented in reverse "Casey Kasem countdown" order. In two instances (Darts/Pale Lips and The Muffs/Purple Mountains), songs were erroneously flipped in error. I apologize for this mistake.

1. More Kicks, I'm on the Brink

2. Jesse Malin, Room 13

3. The Dream Syndicate, Bullet Holes

4. Titus Andronicus, Troubleman Unlimited

5. Honey Radar, Cornflake ESP

6. Brad Marino, Broken Record Baby

7. Geoff Palmer, All The Hits

8. ATOM, No Future

9. Ravi Shavi, Riding High

10. Young Guv, She's A Fantasy

11. Gino And The Goons, Pills In MY Pocket

12. Drahla, Gilded Cloud

13. Kevin Morby, OMG Rock n Roll

14. Juliana Hatfield, Staying In

15. The Mystery Lights, I'm So Tired (of Living In The City)

16. Jordan Jones, Rumors Girls

17. CTMF, You're the One I Idolise

18. Pale Lips, Some Sort Of Rock n' Roll

19. The Darts, Don't Hold My Hand

20. Ty Segall, Taste

21. Cherry Pickles, I Still Miss Lux

22. The Sweet Things, Dead or Worse

23. Frankie and the Witch Fingers, Purple Velvet

24. Peter Perrett, Love Comes On Silent Feet

25. Tijuana Panthers, Path of Totality

26. Guided by Voices, Your Lights Are Out

27. Wilco, Everyone Hides

28. The Dates, pictures with rene

29. Twin Peaks, Laid In Gold

30. The Cowboys, Female Behavior Book

31. White Fence, I Love You

32. Wreckless Eric, Strange Locomotion

33. Wand, Walkie Talkie

34. Kiwi jr., Murder in the Cathedral

35. The Resonars, The Man Who Does Nothing

36. The Muffs, No Holiday

37. Purple Mountains, That's Just the Way That I Feel

38. Pernice Brothers, Mint Condition

39. Bob Mould, Sunshine Rock

40. Mikal Cronin, I've Got Reason

[stormyrecords-blog]

new arrivals and halloween

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 halloween is coming. we will have trick or treating her eint he shop os saturday oct 28th from 4 to 6pm, and many shops in east dearborn will be participating also. bring your shildren or you dog and we will have treats for them. then on tuesday we will be closing up early so we can give out candy in our neighborhood. THIS WEEKEND WE CHANGE THE CLOCKS. it's fall back time. also a great time to change the batteries in your smoke detectors. new arrivals for 10-26-17 Alvarius B: With a Beaker on the Burner and an Otter in the Oven - Vol. 1 Natural Wonder LP $22.99Alvarius B. on With a Beaker on the Burner and an Otter in the Oven - Vol. 1 Natural Wonder: "Volume One of three new LPs I am releasing simultaneously called Natural Wonder, this is the more melodic, savvy one and you might like it. Maybe I'm lying and it's the innocent, straight record so maybe you should get Vol 3 (ABDT 059C-LP) instead if you're in a darker mood. But that's not really true either. Or maybe it's one of those records that grows on you the more you continue playing it... like a cancer. The musicians who played on all three albums don't deserve to be involved in these kamikaze promotional descriptions so don't blame them for any of this. They played so well on these records, in fact they play much better than you do, and their performances deserve a 'Whammy,' which is the awards show where I'm in charge and the winners get to shoot members of the music industry academy dead in their seats. That's where it's all headed you know. . . . The modern world of record making has become so fucking dull and obedient that someone has to ram a poison dagger up your asses and since you're all under hypnosis, I promise you won't feel a thing. I could pay Dougie Jones to write this piece to match your intellect or hire a publicity company to promote it but who really gives a fuck? I'm still making records for myself and the rest of humanity doesn't speak my language anyway. By deciding to write my own album promos, I can perform some market research. For example, this album description text will undoubtedly be copy/pasted by most online retailers onto their respective sites because they don't write their own new album reviews or get too excited about music, they simply want to create the illusion that they're in business to sell records. So I could put something like: Fuck all website retailers that copy/paste this description onto their site because they are too fucking cheap, lazy or chicken shit to have an opinion to write individual album reviews -- and they probably wouldn't even notice while doing it. Anyway, back to my new album. These songs are pretty good, most likely way better than your songs, and I don't even have time to be a real songwriter, so what does that say about you? It says that you suck. And most of you do. But you should buy my new three album set because it's probably as good or better than any other LPs that will be released this year. But if you aren't ready to go all-in with confidence, then forget it. I don't want any mudskipper sub-species of the crayfish to buy my records. There are always a few speculators who'll pick up the extra copies you won't buy anyway." One-time pressing; Includes printed inner sleeve with lyrics and credits. Baird, Laura : I Wish I Were A Sparrow  CD $12.99lp also available $23.99"With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multi-instrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird's own sound stems from the Appalachian folk tradition, and she connects to it via family lineage -- her great-great uncle I.G. Greer's folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo. With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including 'Dreadful Wind and Rain' and 'Pretty Polly,' being passed down from the folk tradition, and the other half, including 'Wind Wind' and 'Love Song From The Earth To The Moon,' coming from Baird's own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird's solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals." Cipriani, Stelvio : Bay Of Blood LP $34.99A Bay Of Blood (1971) is a film directed by Mario Bava, known for explicitly inspiring the Friday The 13th saga as well as for being the forerunner of the slasher genre, is undoubtedly one of the most inspirational masters of horror cinema. His magical use of camera zoom, off-field, and out-of-focus, and cynical and crude death set pieces, make it a masterpiece in which every scene exudes very personal and expressive poetry. Stelvio Cipriani's score, which develops a rich sequence of different themes and genres, and all accented by the evocative melodies and excellent orchestrations of the maestro, is brilliantly supported by the excellent rhythm performance of Enzo Restuccia on drums and Mandrake Som on the tumba and bongos. It is the voodoo-style percussion and violin that introduces the splendid original theme played by the maestro himself who plays piano, celestial, spinetta, harpsichord, and organ in the arc of the soundtrack. All in all, 21 tracks that make up the score: "Evelyn Theme", the bossa nova "Due Amanti", the dramatic and psychedelic "Un Cadavere Nel Lago", the Italian-style samba of "Giovani e Liberi", "Shake Giradischi", whose title is well representative, the tension the pursuit of "Inseguimento E Uccisione", the abstraction of "Ritrovamento Dei Cadaveri", and so many others. First time on vinyl; Edition of 500 (hand-numbered). NWW: Swinging Reflective 2CD $23.99Out of print for 17 years, Nurse With Wound's The Swinging Reflective was originally released in 1999. Features collaborations with Coil, Diana Rogerson, Jim O'Rourke, William Bennett, Legendary Pink Dots, Foetus, Current 93, David Tibet, Tony Wakeford, Inflatable Sideshow, Aranos, Chris Wallis/Peat Bog, and Tiny Tim. All tracks are remastered and it is the perfect partner for Swinging Reflective II (DPROM 134CD). Also features Steven Stapleton and Stereolab. This set is packaged with all new artwork; Comes in a heavy board, gloss laminated six-panel digipak. Ty Segall Band: Slaughterhouse  2LP $29.99"A reissue of the 2012 debut release by the Ty Segall Band on In The Red, featuring a bonus song not on the original release! The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. While Segall has released many incredible solo releases, Slaughterhouse marks the first time he recorded with his touring band. For this mini-album (originally released as a double 10-inch, but now expanded to a double 12-inch) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on 'obliterate' and commenced to kick ass and take names. Seriously, this record will melt your face. All of Segall's usual psych-pop sensibilities are present but Slaughterhouse adds the full-throttle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro-Magnon bashing culminate with a feedback freakout that's clearly the only sensible way to end a workout of this magnitude in shit to announce the debut release by the Ty Segall Band." Durutti Column: Paen to Wilson  2LP $32.992017 blue vinyl repress. 2013 RSD release. Paean To Wilson is arguably Vini Reilly and the Durutti Column's most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990s. It was commissioned by the MIF (Manchester International Festival of Music), in July of 2009. Vini had already composed pieces for Tony to listen to while he was ill in the hospital and it was from here that the project developed. The bonus disc first appeared in 2005 via Wilson's project F4, the fourth version of Factory Records. Originally it was a download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent), then was issued on CD in 2010. Goat: Fuzzed In Europe LP $30.99When the masked Swedish collective Goat toured Europe in the autumn of 2016 to promote their then recently released third album Requiem, the band came up with the idea to record every show. On returning back to their home town of Korpilombolo, Goat painstakingly went through all the recordings and picked out six tracks to be released on a limited live album presented here, Fuzzed In Europe. Goat picked these six tracks in particular because they are different versions to what is found on their releases. Goat's live reputation is second to none -- since their first public shows in 2012, they have stunned audiences across the globe. The band's brand of danceable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds -- Goat know how to create music that is made for the "head" as well as the "body". There are rumors of Goat disappearing into the hills, that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, it can't be said, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish. It celebrates a band completely at the top of their game. The eye popping beautiful artwork for Fuzzed In Europe was created by the great poster artist Adam Pobiak who has worked with everyone from Soundgarden to Justice and Swans to the Flaming Lips. Green/black splatter; Edition of 2000. Nocturnal Emissions: S/T 2LP $29.99Double LP version. Led by Nigel Ayers, Nocturnal Emissions was one of the first bands to use tape cutting, avant-garde art, and underground video works to create a stage experience that was cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire. The band moved on to using samplers and electronic noise in their early '80s work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the '90s when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies -- they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel -- and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. Nocturnal Emissions is a compilation of classic tracks from the early to mid '80s. Track selection by Alessandro Adriani. Graphic artwork by Simon Crab. Audio mastering by Rude 66. Battiato, Franco : Pollution LP  $32.99"Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs -- Fetus, Pollution and Sulle Corde Di Aries -- that formed a confluence of avant-folk sensibilities and analog electronics. Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone. Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll. Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978." Roach, Steve : Structures From LP $25.99"Steve Roach is one of the defining American artists of new age music, perpetually on a quest for silence and the suspension of time in his music. Structures From Silence is his third album originally released in 1984, and is his first purely textural album, with a smooth, dark, gentle atmospheres unlike any of his other albums. 'Full of purring drones and high notes that shimmer and fade. Like a desert mirage, these structures hover forever at the horizon, an oasis from the din surrounding it' --From Pitchfork's 'Best Ambient Albums Of All Time'. 'Steve Roach's Structures From Silence remains one of the most important ambient albums ever crafted. It isn't as high profile as similarly poised records from Brian Eno, but its enduring influence has been unmistakably visible in the three decades since its release.' --FACT Magazine. Remastered from the original tapes, this is the first vinyl reissue of the album since its initial release in 1984." Nazoranai: Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be TransformedLP $29.99"Nazoranai is the supergroup of Keiji Haino, Oren Ambarchi and Stephen O'Malley. For close to four decades, Haino has been a legendary figure in Japan's avant-garde community through his commanding presence in the band Fushitsusha and numerous solo ventures. Ambarchi, a prolific electro-acoustic composer of heavy ambience and hypno-rock, has long stood at the leading edge of Australia's experimental music scene, while O'Malley remains a principle architect for the drone / doom metal project Sunn O))) in harnessing extreme sub-harmonic frequencies. Collectively, Nazoranai operates as a live recorded collaboration, although Haino is quick to point out the difference between the words 'nazoranai' (which in Japanese calligraphy means 'not repeating,' as in developing a distinct, individual style) and 'sokkyō' (referring specifically to improvisation). In this parsing of terms, the group separates themselves from the free-music scene, which can be just as convention-bound as the established genres from which improvisers hope to escape. On the trio's third album, Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed, Nazoranai explore two side-long tracks of superb abstraction. Ambarchi and O'Malley provide the perfect brute-rock rhythm section to Haino's recklessly pure expression through instrument and voice. Blurred noise, dark hurdy-gurdy and thunderous harmonics build an accretive mantra of jagged electricity. While Haino's extensive discography resists easy interpretation, he constantly challenges himself to further his art by channeling the unknown. Shifting from his native Japanese to English, he asks: 'Do you still have a mystery?' This existential plea could apply to the artist's own deep inquisitions or stand to confront his audience about that which eludes their understanding. W.25TH / Superior Viaduct is proud to present Nazoranai's latest work, recorded at SuperDeluxe in Tokyo, which marks the band's first release on an American label."

[zero-degrees-music]

Ty Segall & Mikal Cronin - I Wear Black

[war-pervert-blog]

Ty Segal & Mikal Cronin - Suffragette City

gooooood morning

[marimbamadness]

so catchy