Archive for the ‘Distro’ Category

Free Basin’ Friday | Summer Edition

Friday, June 27th, 2014


Summer is here! Time to bust out the BBQ and fill up the kitty pool.  In celebration of the summer solstice, this week for Free Basin’ Friday we’re giving away a copy of Kindred Spirits reissue of L’Orchestre Sidi Yassa De Kayes - L’Orchestre Sidi Yassa De Kayes!


For a chance to win this week’s prize, tell us what’s your favorite summer record (an album that always gets loving during your 4th of July BBQ) and why. The winner will be notified next Friday via email.


News Titles from Votary Records!

Thursday, June 26th, 2014


Based on the novel written by australian actor Roger Ward (Mad Max, Stone, Turkey Shoot), The Set is a cult Australian sexploitation film. Originally released in 1970, The Set was scored by the highly respected and unique jazz original Sven Libaek. Incorporating elements of baroque and sunshine pop as well as moody mod jazz, The Set is an incredible time-piece of Swinging Sydney.


Scored for vince & Carol Serventy’s 1966 Australian Television series nature Walkabout, Sven Libaek’s pioneering soundtrack has long been considered the landmark recording of the unique genre, eco-jazz. impressionistic modern jazz composed for Television documentaries, library music, educational and travelogue films. Remastered from the original master tapes, this reissue is presented as a deluxe 180 gram Gatefold with rare photos from the Serventy archive, plus extensive liner notes by jazz writer Francis Gooding.


Considered to be one of the pioneers of Psychoacoustics, Eric Siday is also acknowledged as a key name in the growth of 20th century electronic music. Siday was an important figure in the development of the Moog Synthesizer, his compositions were a testing ground for Bob Moog ideas, in turn shaping the technical advancement of the instrument. Pulling together a clutch of eerie atomic-age miniatures drawn from a series of rare 10” 78rpm library discs, this compilation explores Siday’s scientific study of sound, a concept he branded The Ultra Sonic Perception. The composition featured here were partially used as the soundtrack to the early 1960s Doctor Who TV series and showcases pioneering techniques used by this forward thinking composer.


Cold Worlds is a collection of Horror-Electronics, supernatural soundscapes and sinister library muzak from Australian composer Don Harper. Centering on a previously unreleased score for the 1968 Doctor Who series The Invasion (a dark otherworldly sci-fi jazz suite), Cold Worlds is also a focus on the electronic music of this largely unsung composer. Harper’s compositions have been famously sampled by hip hop artist MF Doom. The album also includes compositions written by Harper for George Romero’s cult zombie classic Dawn of the Dead


Thursday, June 19th, 2014


World Cup Fever – everyone’s got it! Spain’s out, Gondwana’s late as usual, and Texas is creepin’ on a come up! Let the American futballs fall where they may, that’s what we say. At the end of the match, yer gonna need to blow some steam, up, down, or to the left. So take it easy (or don’t) – we’ve got somethin’ for ya!


Turn To Crime – Can’t Love
(Mugg & Bopp)

Who said Detroit is dead?! Since peacing-out of NYC and his old band, Awesome Color, Motown native Derek Stanton has kept his head down, slowly disseminating new solo work online. To say that Turn To Crime is some next level gamesmanship is putting it mildly. Played, produced, and recorded entirely by our man, TTC is Stanton coming into his own – molding something familiar yet disorienting from the standard garage and classic rock building blocks, layering his subtle guitar heroics and Lou Reed-isms over rhythm tracks that sound built from Can samples. An uncontested highlight around these parts and one to watch for ’14!


Mar-Vista – Visions of Sodal YeKelompok Kampungan – Self Titled 10″
(Strawberry Rain)

Take cover – two soft bombs showing up on satellite over the Pacific! Strawberry Rain does it again here, rolling aside boulders leading to underground rivers unseen by eyes of man or beast. Mar Vista’s Visions of Sodal Ye is about as deep a cut as they come – French private press synth-psych never circulated outside of the duo’s immediate locale. Too dark and animated to be new age, Mar-Vista could be a primitivist interpretation of kosmiche voyagers like Ash Ra Temple, Popol Vuh, or Terry Riley. Super unique and engrossing jams – Sodal Yeah!

On the other end of the spectrum, we have Kelompok Kampungan’s arresting 10″. Containing the overflow from last year’s excellent Mencari Tuhan reissue, the music here bathes in the same magic that made Mencari so special. A progressive folk ensemble from Thailand, Kelompok Kampungan were mostly untrained musicians who made their own instruments in an effort to re-create the sounds and rhythms of nature in their playing. If this all sounds too hippy-dippy, stick with me. A lot of psych/folk/world etc., albums pass through our doors here – this one made us stop in our tracks. 100% unique and amazing.


Ennio Morricone – L’uccello Dalle Piume Di Cristallo (The Bird with the Crystal Plumage)

Classic Morricone soundtrack composed for Dario Argento’s 1970 debut feature, L’uccello Dalle Piume Di Cristallo (The Bird with the Crystal Plumage). Morricone shows us again why he’s the maestro, marrying more conventional song-forms to the avant-garde arrangements employed in his Gruppo di Improvvisazione Nuova Consonanza. From creepy, sing-song vocal melodies to hair-raising string blasts, all the trademark Morricone-isms are in full flower here. First ever vinyl release of the original score in stereo, on red vinyl (for a limited time).

Free Basin’ Friday | Konrad – “Evil”

Friday, June 13th, 2014


We’re back this week with a special Father’s Day edition of Free Basin’ Friday! The prize is a copy of Ethereal Sequence’s reissue of Konrad – Evil. Recorded more than 25 years ago, the album is an odd collection of bedroom electropop that has since garnered cult status. The album has been restored from the original master tapes and includes a bonus 45 of three extremely rare tracks.


Since Father’s Day is right around the corner, we want you to name the top 3 “dad rock” (aka “birkenstock rock”) songs. Dad rock is defined as “the standard set of songs from the 60s and 70s that boomers habitually listen to. Boomers try to get younguns to listen to dad rock by loading up ‘best song ever’ lists with them. Dad rockers have no desire to listen to recent music and are stuck in the past.” The list that is the most spot-on wins! The winner will be notified next Friday via email.

Weekly Distro Roundup with Jon Treneff!

Thursday, June 12th, 2014


Happy Father’s Day week! Here at LITA World HQ (LLC, Inc. ) we feel the mixed emotions you may be going through leading up to this most holy of days. Namely, what to buy for the Dad who has everything, and hates everything he doesn’t have? We feel your pain, my brethren! But no matter who yer daddy is this year, we’ve got something to put the spring back in his Buster Browns! What’s that you say – YOU’RE the Daddy here?! Even better! Treat yourself, Big Papa!


Staple Singers – Uncloudy Day / Will The Circle Be Unbroken? / Swing Low

Hallelujah! After decades of basically ZERO presence on vinyl, Mississippi brings the Staple Singers back into the 12″ realm. These are exact repros of the famous family’s first three albums, and as important to gospel and American music as Johnny Cash or Loretta Lynn were to country. Though they went on to great Top Ten chart success in the ’70s with the Stax label, these early Vee-Jay recordings are arguably their most enduring legacy. Far from the typical soul-groove recordings still heard on the radio today, these records are basically (barely) electrified Southern spirituals – minimal and haunting songs stripped to the marrow, with only Pops’ Staples heavily reverbed guitar and his offspring’s heavenly voices holding the music aloft. Timeless, transportive hymns that transcend decades, centuries, and tastes. You need this in your life.


Guy Skornik – Pour Pauwels
(Lion Productions)

Big SKOR for fans of French pop – and eccentric art-pop in general! Guy Skornik was a mystic explorer, gifted musician, and member of the forward-thinking Popera Cosmic collective. When he wasn’t busy presenting television reports on Eastern mysticism and LSD, he was recording orchestrated prog-pop, culminating in 1970′s Pour Pauwels LP. Inspired by counterculture hero and author Louis Pauwels’ revolutionary bestseller The Morning of the Magicians, Pour Pauwels is a heady concept album that manages to forge all of Skornik’s interests into a classic of French prog-pop. Right up there with Serge Gainsbourg’s Melody Nelson and the trailblazing work of Jean-Claude Vannier. Limited to 500 and going fast!


Country Lips – Nothing To My Name
(Country Lips)

After years of road-testing in the West Coast’s top dives and speakeasys, Seattle’s rowdiest sawdust stompers bring forth their debut album. What’s all the ruckus about?! These guys pretty much spell it out for you in the name – COUNTRY music, with a lotta LIP!!! Rolling through nine members deep, this wrecking crew takes the M.O. of ’70′s outlaw country a la Willie, Waylon, and Johnny Paycheck and cranks the foot-stompin’ factor up to 11! Incredibly, Nothing To My Name manages to translate the energy of their raucous live show to wax, while spotlighting the group vocal harmonies that can get lost in the heated moment of a live hootenany. Get your summer off to a proper rip-snortin’ start!

All titles mentioned above are available through our online shop or at our Seattle record shop (913 NW 50th St., Ballard). The shop is open Friday 12-8pm and Saturday 12-4pm.

Weekly Distro Roundup with Jon Treneff!

Thursday, June 5th, 2014


Shadoks vinyl!!!  Shadoks vinyl!!!  Shadoks vinyl!!!  Shadoks vinyl!!!  Shadoks vinyl!!!  We’re over the moon over here!  After all, it’s not every day (or life, for that matter) you get the chance to work with the esteemed and legendary Shadoks label! Shadoks has been at the forefront of amazing boutique psych reissues since boutique psych reissues were just a glimmer in yer pappy’s aviator shades. Every release is a hand-made, painstaking labor of love, with high-quality packaging, sound, and liner notes – in strictly limited editions of 500.

We have stock on the ENTIRE Shadoks vinyl catalog, as well as the fresh slices highlighted below -  all making their debuts on North American shores!  Check the website for the full rundown.


Ernan Roch / Lazarus  / Young Flowers 

Ernan Roch’s La Onda Pesada is one of the great lost Mexican psych-folk classics.  Sung entirely in English, this has a laid-back West Coast groove that we might incline to call “folk-funk,” a la Relatively Clean Rivers, but with fuzzed-out guitar leads that will ring the bell of Quicksilver Messenger Service freaks.  So good!  Lazarus showed up with far more ambitious plans on their impossibly rare debut.  Imagine Soft Machine or Caravan recording a concept album about Lazarus coming back from the dead as a hell-bent zombie and you’re on the right path.  Killer hard-blues/psych – the sound and playing on this is out of this world!  Any heavy head will tell you - Young Flowers were THEE definitive Danish psych/blues act, and “Blomsterpistolen (flower pistols)” is their masterpiece.  Heavily influenced by Hendrix, Cream, Canned Heat, and the like, this record holds it’s own, with an insane guitarist and heavy musical lifting across the board.  There’s a whole world out there – stop and smell the blomsterpistolens!


L’Orchestre Sidi Yassa De Kayes – L’Orchestre Sidi Yassa De Kayes
Le Kene-Star De Sikasso – Hodi Hu Yenyan
Amadou Ballake – Bar Konon Mousso Bar
Woima Collective – Frou Frou Rokko
(Kindered Spirits)

New mother lode of African reissues par excellence from the always reliable Kindred Spirits folks. L’Orchestre Sidi Yassa De Kayes and Le Kene-Star De Sikasso are two peas in a pod, showcasing the movements of some of the scene’s key players. The Mali orchestras worked much as the jazz combo might have worked on this continent – as a revolving door and training ground for young players to cut their teeth in an established group before casting off to form their own combos. Both of these records feature slightly altered combinations of the same players, and follow the same strange, magic thread – sounding as natural as the dirt under foot, and completely unlike anything of the known world. Like catching a phantom satellite signal on your transistor radio, under the sheets.

Amadou Ballake and Woima Collective are the then and now of rambunctious Afro-beat. Mr. Ballake was a James Brown-indebted wailer from Burkina Faso. Bar Konon Mousso Bar was a massive hit in his homeland, for good reason – this whole record is a scorcher that warms up at 360 degreez and just keeps going from there. Top shelf! Woima Collective are an offshoot of German Afro-soul-beat revivalist ground-floorers, Poets of Rhythm (check Daptone’s boss vinyl anthology), and probably one of the more real-deal units doing it, to our Mrs. Dash-seasoned ears. Hotter than a dutch oven in Georgia!


The Vampires – The Vampires Underground
Edip Akbayram – Edip Akbayram
(Pharaway Sounds)

Stop us if we’re windbagging – but it’s been awhile! So many new jams, and they’re all worth your time! Both of these new Pharaway platters are gonna blow doors on your next Go-Go shindig – trust! The Vampires Underground is by far one of the most obscure, and strangest, psych-funk exploitation albums ever. A band of Indian guys in East South Africa playing instrumental psych-garage-surf-funk, The Vampires put their unique stamp everything from “Unchain My Heart” to “Funky Broadway,” making it their own with fuzzed-out guitars, bongos, and a killer rhythm section. The best kind of great record – an accidental one. Along with Erkin Koray and Baris Manco, Edip Akbayram is one of the Big Three when it comes to Turkish delights. This is an exact repro of his debut album, and a totally essential psych-fuzz tome for any and all of the above. Woo-hoo!

All titles mentioned above are available through our online shop or at our Seattle record shop (913 NW 50th St., Ballard). The shop is open Friday 12-8pm and Saturday 12-4pm.

Free Basin’ Friday | Cannibal Ferox on Colored Wax!

Friday, May 30th, 2014


Thank God it’s Free Basin’ Friday! This week we have a gruesomely delightful prize sure to excite any and all horror film connoisseurs. We’re giving away One Way Static’s reissue of the original motion picture soundtrack to Umberto Lenzi’s 1981 exploitive shocker CANNIBAL FEROX aka MAKE THEM DIE SLOWLY, composed & performed by Roberto Donati! The LP comes pressed on jungle camouflage colored wax with unrated cover art and foil numbering /500 copies.


For a chance to win this week’s prize, come up with your own alternate title for the film Cannibal Ferox.  The most creative/funny submission wins! The winner will be notified next Friday via email. 

Friends of LITA | Q&A With Saul Conrad

Thursday, May 22nd, 2014


All of us here at the Light In The Attic clubhouse are excited to be distributing the latest album from Boston’s Saul Conrad. A Tyrant And Lamb, out now on Cavity Search Records, is his third studio album and is on heavy rotation here in the office. We recently caught up with Saul for a short Q&A. You can read our interview with him below and stream his new album A Tyrant And Lamb from!


1. What was your process like while recording this new album? Can you tell us a little about the approach you take when you’re in the studio?

We (Jason Bitner, who produced this album, and I) started working with an idea in mind that had very little to do with where we arrived. I’m normally too anxious after finishing one record to sit around waiting for the release to pan out. So often a flood of new bits and pieces of songs starts a couple months after finishing something and I get pretty involved in it. In this case I started with a whole idea about a drum feel that was on the line between straight four rock and country shuffle. And some honky tonk progressions and melodies.

We had much of the album we imagined we were going to make close to completion, with 6 or 7 tracks recorded — and then it was time to go on tour for the previous album. So we dropped everything and worried about shows, traveling with a parrot (my parrot at that stage wasn’t well and was refusing to eat on his own–he’d only accept food from me via a syringe, so we had to bring him and feed him 4x/day in the van), and motel rooms that often smelled of fresh crack. We were terrified the fumes would do Chico in–many nights we had his little travel perch (his “bird motel”) set right above the TV in order to keep a close eye on him. We’d watch with a silhouette of a parrot missing from the center of the screen. There were some great shows at alternative venues–for example in a house on a block where 5-10 abandoned houses were being squatted by a whole community of friends. There were awful nights in about equal measure—one particularly, in Dallas, where we played for a few businessmen in black suits with black ties and shiny black shoes (looking like demented preachers doused in oil) who were casually whispering over mixed drinks and fake candle light to their dates.

When we got back to Boston we trashed much of what we already had recorded. It sounded put on–forced into this style I was obsessed with at the time, but not emotionally true, or that relevant to how I was feeling anymore. If its relevance had faded that quickly and it wasn’t holding together I knew we had to get rid of it and chalk it up to a first stage that would hopefully lead us somewhere more meaningful. I actually ended up taking pieces of those original songs and building new songs around them. Seeing that one could trash large amounts of work, and that in some cases it freed me to find more rewarding solutions to finishing the songs was kind of a revelation for me.


2. Do you have a favorite track from the album?

I think I might like Galga the best–I’m usually excited to perform it. It returns me to a place, or a kind of terror I felt a lot in the past, but allows me to sort of share it, aggressively, on my own terms, and escape, or reverse the feelings of real life, for a couple of minutes.

3. Your new album is titled A Tyrant And Lamb. Can you explain the meaning behind the title?

It comes from the characters that can crawl into your head if you get into one of William Blake’s prophecies. I guess the lambs and the tyrannical forces are even in play in some of his earliest works too. This album intends to take a very careful look at the voice of the protagonist (myself, I guess), without making any approximations or averages. To see some truth I have to be able to watch and chart myself turning from a lamb into a tyrant (in a long-term sort of way, chronologically through my life), and back and forth all the time. It also studies a couple of the relationships that are and have been extremely important to me, and how those relationships often seem rooted in the opposing force between the tyrant and the lamb. But the roles can switch–which is why, though the cover may implicate one person at first look, both people have a bit of satanic blush on their cheeks, and the eye is slightly discouraged from associating anyone permanently with either role.

4. You mentioned that while you worked on this album you read a lot by Søren Kierkegaard and William Blake. Do you feel that the themes of what you were reading manifested themselves in your lyrics?

The lyrics were meant to reflect things I found within myself, but the method of search and excavation is largely indebted to what I learned from Kierkegaard’s The Sickness Unto Death and Blake’s The Four Zoas. The whole ebb and flow of the album–the slow revelation of various horrors, broken and lost parts of human potential, weakened relationships, with turn-arounds, potential ways to find the good path & strength mixed in, and leading up to the final accusation at the end of “Bulls”–is deeply informed by the Zoas, which is a massive and torturous journey to the threshold of hope.

Particularly in the song “Hollow”, the idea of a personally disastrous paradox, of the need to destroy your origin to become someone real, the climax of that song if you love someone kill their family in their mind / and set them free / climb into a balloon is something I learned from The Sickness.

5. What other artists or musicians have influenced your music and songwriting?

Blaze Foley Wanted More Dead Than Alive (I especially tried to sing in a way akin to Blaze in the middle section of the 7th track “Bumbling Fool”), Gram Parsons, Townes Van Zandt (High, Low and in Between, Flyin’ Shoes, Delta Momma Blues) Syd Barrett (The Madcap Laughs), Harry Nilsson (the vocals, specifically on his album of standards A Little Touch of Schmilsson in the Night, Nilsson Sings Newman, and Son of Schmilsson), Elliott Smith’s From a Basement on the Hill (his vocal sound, and the way he mixed distorted dissonant, aggressive electric guitars with sweeter, picked acoustic)

I guess it’s hard to know for sure because a lot of stuff (especially from when I was younger playing classical music) may be floating around in my head somewhere that perhaps I’m not even aware of, but that is leading me places and informing what I’m trying to do with songs and melodies.

6. You hail from a long lineage of musicians. I read that your great uncle escaped Nazi Germany during WWII and went on to become an acclaimed pianist. Have you ever collaborated with him or asked his advice when writing music?

I actually have performed with him–Mozart’s double piano concerto. When I went to NYC to practice with him, for hours on multiple days I couldn’t get through the first few measures without a meltdown from him. My approach, my attitude, speed, technique, musicality, rhythm…everything was a disaster. But we got through that stage (and I got through the headaches and nerves that accompanied these rehearsals) and he came to show me a level of rigor, technically, but also in terms of interpreting a piece of music, and having a detailed, studied, thoroughly conceived plan for musicality and dynamics. It was an honor and once in a lifetime experience to play with him.

I’ve never talked to him about writing music, and he’s quite old now (and wasn’t really as present in my life for the period when I started writing). He never composed (as far as I know), but at birthday parties he would play Happy Birthday in the styles of 10 or more different composers. He was so intimately aware of their work and their voices–it was like they’d walked into the room in a casual mood and started making up variations to the melody themselves. His creative energy was completely tied up with his interpretations and understanding of others’ compositions. For most of his life he could play any Beethoven sonata by heart.

7. What are you listening to these days?

Josh from Light In The Attic gave me Bob Frank’s first record, which is stunning. Each song is a story. And some of them are riddles, or something like that–there’s room to draw a lot from the sparse outlines, and try to interpret. Maybe it’s sort of Biblical: The ellipsis, and the beauty. I’ve been listening Big Star’s Third/Sister Lovers. No one seems to share my opinion on this, but I really don’t much care for Big Star’s first two records. This one though has blown me away. The sounds–the strings mixed with all kinds of electric sounds–Jim Dickinson’s production, the writing, the singing…It’s got maniacally upbeat ecstasy in some songs, true tender veins elsewhere, and the sad calm when all those feelings burn out too.

I got a new record that collects a lot of Luke McDaniel’s songs…I am particularly moved by “Drive On”, “Homeward Mule”, and “You’re Still on my Mind”.

I’ve been returning over and over to Mozart: Don Giovanni (Vienna Philharmonic conducted by Josef Krips with Cesare Siepi) and the Requiem Mass (the Harnoncourt version). And then, to try to undo the hypnotizing beauty, the terror, the turning feelings, to relax, or move to a completely different, simpler mood, I’ve been counter-balancing that listening with the Dead: Workingman’s Dead, Europe ’72 (mainly for the set of “China Cat Sunflower” “I Know You Rider” and “Brown-eyed Woman”) and Live at The Fillmore East (for “Bertha”!).

Denny at Cavity Search Records sent me Jerry Joseph’s self-titled, which I think is a subtle record with stunning guitar work, and lyrics that are bold in scope and tackle –it seems to me– mangled, complex and deep-mind emotions. (My favorite tracks are “Pony” and “Bouncing Very Well”–the romantic songs)

I played with Joey Molinaro in Pittsburgh this winter and got his record The Inalienable Dreamless. He performs virtuosic, high energy sets on violin with a foot-pad to add percussion and a bit of vocal additions too from time to time. It’s like war music to me in a sense–fascinating, aggressive, demanding and different.

8. What’s on the horizon for you? Any plans for an upcoming tour?

I’m going to be on tour for a lot of the summer…in June a loop from Boston up through upstate New York and west to Chicago, down to Baton Rouge, and then back up the east coast. In August a trip that starts in Montana, heads west and then down the coast from Seattle to southern CA. (all the dates are HERE)

I’m also getting pretty far into work on a new album–musically a completely different sort of thing–a kind of Mass. Anyway, A Tyrant and Lamb is out this Tuesday. The guys at Musicol pressing remastered the whole record for vinyl, and it really sound its best like that. (And it’s not coming out on CD right now). It’s a limited edition of 300 copies.

Check out the music video for Saul Conrad’s “Carousel” below.

Weekly Distro Roundup with Jon Treneff!

Thursday, May 15th, 2014


I don’t know what it’s like in your thrift store corner of the world, but out here in the wet ‘n wild west, it’s been something like a HEAT-WAAAAVE.  You know what else is hot?!  SLUMBER PARTIES, HIPPIES, and TOURING!!!  So get all up in this sweat lodge and have yourself some visions – of  the hot jams you’ve been missin’!



Just when you’re expecting another ’80′s synth banger, Death Waltz sucker-punches you with this!  Don’t get us wrong, we got nuthin’ against the ’80′s synth bangers, but THIS – this is a CLASSIC horror soundtrack.  And when we say classic, we mean Phantom of The Opera / Dracula / Haunted Funhouse of Horrors kind of a vibe.  And when we say Funhouse, we mean a real ORGAN GRINDER.  If you still don’t follow, this is what would be playing while you were quietly crapping your pants at the carnival or the haunted corn maze, or whatever they did for fun in Oklahoma.  Scary in the way that clowns, scarecrows, and mimes are still scarier than 100 Freddy Kruegers surrounding you like the maypole.


The Black Hippies – The Black Hippies
(Academy LPs)

Here at LITA HQ NW, we’re beyond pumped to have the estimable Academy LPs joining the distro stable!  If you’re not already familiar, this new reissue from The Black Hippies is a perfect place to start, showcasing everything this label has become known for in the last few years.  Like it’s predecessors, this jam is another deep cut from the ’70′s Afro-Fuzz scene – and one of the more high-stepping rump-shakers from a scene that has it’s share.  A uniquely African interpretation of the hard rock, funk, and disco that was making it’s way into the Nigerian nightclubs from Europe and overseas, and will the knock yer socks off if you dug the Ofege record.  Get Hip(py)!


Merchandise / Milk Music / Destruction Unit – USA ’13 Split
(540 or Fight)


The best kind of 3-car pile-up from some of the more engaging bands working in the American psych/punk underground today.  Serving as something of a postcard from the tour these bands did together last year, this split highlights the stylistically divergent approaches each of them are taking in their attempts to stretch the boundaries of what a “psychedelic” band can be.  Merchandise delves further into the atmospheric, ethereal soundscapes their new label home, 4AD has built it’s house on, while Milk Music keeps driving further from their scrappy SST punk beginnings, winding down somewhere out in the Crazy Horse desert sunset.  Destruction Unit – well, they do what they do – to great effect, laying down minimal, encrusted garage riffs and slowly building them to frenzied, peyote nightmares.  The best split release since the Boys Life / Christie Front Drive 10″- and in retrospect, those bands kinda sucked.  Features all previously unreleased material.

All titles mentioned above are available through our online shop or at our Seattle record shop (913 NW 50th St., Ballard). The shop is open Friday 12-8pm and Saturday 12-4pm.

Free Basin’ Friday | Mother’s Day Edition

Friday, May 9th, 2014


Welcome to the end of the work week. Another beautiful Friday is upon us and that can only mean one thing- time for Free Basin’ Friday! This week we’re giving away the self titled first album from 70′s Nigerian fuzz rockers Black Hippies. Featuring whiplash funk drumming, searing fuzz guitar, raw vocals and that uniquely West African organ sound, The Black Hippies first album is a definitive classic of the genre.


Mother’s Day is right around the corner, so in celebration of all the women who brought us into this world we’re going to have a special Mother’s Day challenge. We would like you to write a Mother’s Day poem telling us why your mom is the best mom. The funniest / most creative poem wins! Winners will be chosen next Friday. Have a great weekend and don’t forget to call yo mama!