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Buckner, Richard [The Hill (remastered 2015)] July 10 street date. On the 100th anniversary of Edgar Lee Masters’ Spoon River Anthology, Merge is reissuing the epic it inspired: Richard Buckner’s The Hill. The Hill started in 1996 in The Ranch Olancha Motel, a dusty place near the mouth of Death Valley, California. Buckner, who was en route to Tucson, Arizona, to record what would become Devotion & Doubt, stayed a week in a room with no phone, no television, carrying his guitar, a four-track recorder, and a copy of Masters’ Spoon River Anthology. He tinkered with a few of the book’s poems, put them on a cassette, and forgot about it until an acquaintance discovered it in his truck four years later. Beset with writer’s block and looking for a distraction, Buckner would find in the tape the spur he needed. Recorded in Edmonton, Alberta, and Tucson, The Hill converts Spoon River poems to music. Each page of Spoon River Anthology reads as a final, postmortem dictum of a different deceased resident—more than 250 of them now passed—in the fictional Midwestern town of Spoon River. The epitaphs are important for Buckner because, in death, these people strip the breathing city of its dishonesty. Each one, from Reuben Pantier to Elizabeth Childers to Oscar Hummel, is no longer concerned with whispers and pointed fingers that are often the consequence of a life laid bare for all to see. They’re unleashing themselves, without fallacy or attachment. Buckner chooses 18 of these confessions, each given a unique rendering. Backed by Calexico’s Joey Burns and John Convertino and surveyed with Buckner’s unflagging vocal desperation, Spoon River’s residents come back to life. Like so much of his career, Buckner disappeared into Spoon River and returns to us with its story. |
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D.O.A. [Hard Rain Falling] CD Street date July 10 / LP Street date August 18. DOA is back with a vengeance! It looked like Canada’s legendary punk pioneers were going to hang it up, as Joe “Shithead” Keithley, the godfather of hardcore, sought political office in Canada, but that didn’t happen this time. So look at it this way, the political world’s loss is the music world’s gain, because DOA has a brand new full-length, Hard Rain Falling, which Sudden Death Records is very pleased to release. It’s DOA’s sixteenth studio album. When Keithley set out to write the songs for the album, he used DOA’s early efforts like Hardcore 81, Something Better Change and War on 45 as a bit of template, in the sense that the songs should be short, fast and right to the point. The end result is great, likely their best album since War on 45. Keithley’s lyrics take on a wide range of modern and horrible screwups, from racism to street gangs to war to environmental degradation. With all of that in mind, Shithead and his infamous henchmen Paddy Duddy (drums) and Mike Maggot (bass) went into the studio with fire in their bellies and with the goal of making a kick-ass album. It worked—Hard Rain Falling is a great effort from one of the world’s most influential and inspirational bands. |
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DFL [Proud to Be] August 7 street date. Proud to Be, the Epitaph debut of Dead Fucking Last (referred to in retail land and heretoafter as DFL), appeared on the punk scene in 1995, making 2015 the glorious 20th anniversary of this bombshell of sheer hardcore energy. In celebration, Epitaph is releasing Proud to Be for the first time on full-length vinyl, in a glorious 20th anniversary edition. A missive from the days when 20 tracks of adolescent guitar/vocal angst clocked in at 30 minutes. And of course, produced by Adam Horowitz (Beastie Boys). Includes Download! |
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Flying Saucer Attack [Instrumentals 2015 (2LP)] July 17 street date. In recent years it’s become clear that the Bristol based group were prescient to a considerable degree. The amplified pastoralism of the group and its various offshoots might have seemed out of step with the times during its initial emergence at the height of Britpop, but the rural has since emerged as a rich source of inspiration for numerous artists in the fields of experimental rock and electronic music. Artists such as Alexander Tucker, Richard Youngs and Boards Of Canada have taken similar pathways through the fields. For over a decade, Pearce has been hovering just outside the pantheon of revered psychedelic absentees that includes Syd Barrett, Skip Spence and, until recently at least, Bill Fay. The world shifts sideways. Logic is confounded. The uncanny takes a hold. Enter Instrumentals 2015. Comprised of 15 fresh Pearce solo performances recorded in characteristically lo-fi manner on tape and CD-R, Instrumentals 2015 is an album that will appeal both to FSA diehards — those who proudly clutch their copies of 1996 album In Search Of Spaces on New Zealand noise doyen Bruce Russell’s Corpus Hermeticum label — and those wholly unfamiliar with the outfit’s recorded output. The 15 tracks present an impressionistic narrative which transports the listener through the excoriating dronescapes and rueful introspection of the album’s early pieces to the more redemptive cadences of its closing half. Given its sense of momentum, maintained through Pearce’s thoughtful sequencing, this is an album that should be experienced in its entirety, the better to appreciate its deliberate emotional arc. The songs gathered on Instrumentals 2015 inform and enrich each other, themes manifesting in one form to reappear, modified, elsewhere, as though impacted and altered by experience. This is music that ebbs and flows with the impermanence of mood itself, graspable on first listen yet revealing of additional overtones on each successive visit. Even at its most distressed and distorted, Pearce’s playing is intuitive and expressive, communicative even, translating inner and outer landscapes simultaneously until the two are indivisible, woven into a single language. Yet these pieces are distinctive and characteristic of their author, exhibiting the same windblown drift and dreamlike melancholy that billowed through FSA’s work from 1992–2000, filtered through a new maturity gained during Pearce’s twelve-year absence. |
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Ghostface Killah [12 Reasons To Die II] July 10 street date. ADRIAN YOUNGE ANNOUNCES THE RELEASE OF THE HIGHLY-ANTICIPATED "TWELVE REASONS TO DIE II" ALBUM, STARRING GHOSTFACE KILLAH. Featuring RAEKWON, RZA, BILAL, VINCE STAPLES and more. Fans who have been waiting for the past two years can finally rejoice: Adrian Younge’s and Ghostface Killah’s Twelve Reasons To Die II is coming soon. To up the ante this time around, Ghostface has added a very important lyrical companion to the mix: Raekwon. The chemistry that was cemented two decades ago on Rae’s classic Only Built 4 Cuban Linx is as strong as ever, clearly heard on five out of the album’s 13 songs. And on the topic of chemistry, executive producer and Wu-Tang patriarch The RZA returns to Part II as the story’s narrator. The storyline for Part II is vividly brought to life with the help of Younge’s never-endingly evocative and unique brand of cinematic, psychedelic soul. The music - on which Younge himself plays upwards of 10 instruments on certain songs - was recorded strictly on analog tape, to bring out the true grit of the ‘70s era that provides the Twelve Reasons backdrop. Twelve Reasons To Die II is another heavy feather in the caps of all involved, especially Younge and Ghost, who again poured their skills and intellect into this dramatic and engaging tale. It all fits perfectly into the Wu-Tang family tree as well as Younge’s always-expanding musical universe, which now proudly relies on Linear Labs to house it. |
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Parks, Tess & Anton Newcombe [I Declare Nothing] June 29 street date (delayed - due in soon). Available on CD & amber 180 gram vinyl. Born in Berlin in early 2014 and nurtured over the following summer, ‘I Declare Nothing’ is the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre), due for release on Anton’s A Recordings label on 29th June.The duo, who co-wrote and co-played on the album, they are touring across Europe this year. Tess Parks - A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music. Anton Newcombe - Anton Newcombe is the leader of the Brian Jonestown Massacre, who returned last May with their 14th full-length album ‘Revelation’ to critical acclaim. It is the first album that was fully recorded and produced at Anton Newcombe’s recording studio in Berlin and was released on his record label A Recordings. It was supported by a successful European tour. |
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Peacers [Peacers] July 17 street date. Fresh off the streets of San Francisco (well, semi-fresh), Sic ol' Mike Donovan (Sic Alps) declares PEACERS is at hand! Self-titled debut release co-chaired by Ty Segall is rife wif riff n' razor-wired tunage — the myth and the majesty all caught up in a bowl of floating miniatures — like a bottle of warm milk, with a hair in it..... Sliding up from out from under, from the old heart of the Bay Area...from out of nowhere even — it’s a special new band. Hands up for the sweet and sour popsicles of PEACERS! Pop music in the new century — what’s it all about? In the hands of PEACERS, it is BAKED — a vanillan cake with sweet sooty icing. Shades of the Bratish invision: compressions and crushes, bone-shakes and glutinous thinks, a wisp of the blues, ardor and romance scraping like the ceiling at your back. Carrying on like rock and roll never happened already, PEACERS unpack a century’s-worth of progress in fresh tunage, capering to classic beats such as ‘jetset,’ ‘showtunes,’ ‘British psych (blues),’ ‘D.I.Y.,’ ‘subterranean homesic,’ ‘EMI (pistols)’ and the rest. With time short, PEACERS grab what scraps they can through the closing window and dance beneath the demeaned sky, with one flag waving free. Standing tall in a tangle of guitars drums, SLAPBACK, wireless hiss interference and other mixed signals (in STEREO), PEACERS’ debut is a max dash through the gutted and the gutter, all of which is written home about with a gleeful cock of the skull and twinkle in eye. Jolly! The perspex of the songs and production both is saddled and well-traveled, but fresh under the glass — unmistakably out the poison-nib(well) of Mike Donovan, whose hits with Sic Alps will live forever, like candy wrappers glittering up from the sewer. And who’s producing you, PEACERS? Mike D’s ole SF cohort himself, Ty Segall, whose rhythm sections and arrangement-commendations re-cast most of the tunes on the rec with copacetic co-ness! HEAVY and LITE, all right — in perfect sea-sawing in and out of the mire. Creeping out from beneath the rock stealth and spidery, redressing the good ol’ soc-hop days with an acid crash. Thanks PEACERS. |
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Pointed Sticks [s/t (2015)] July 10 street date. Brand new full-length album from Vancouver’s punk / pop veterans!!! The Pointed Sticks have a self-titled new album on Sudden Death and Northern Electric. It’s a great record with ten amazing new songs by Vancouver’s punk / pop kings— ”You’re Not The One,” “Lovely Bird” and “Tin Foil Hat” are all über-catchy hits in the band’s classic style. In a parallel universe, this is what the radio might sound like. For the old, and for the young, these are tunes for everyone. Just in time for summer, here comes your soon-to-be new favorite album. Long live the Pointed Sticks! |
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Public Enemy [Man Plans God Laughs (explicit)] Please note new street date - August 7. "Man Plans God Laughs," is the brand new album by Hall of Famers Public Enemy. Chuck, Flavor, Lord, Griff, G-Wiz and the S1W's return for another album, bringing you all new music. If you thought your favorite PE album was "Apocalypse 91," wait until you hear this one! Available on CD or LP. |
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Refused [Freedom (LP + download card)] June 30 street date. Refused came to an end in front of 50 kids at a basement show in a Virginia college town in 1998, just as their release of the same year, The Shape of Punk to Come, was taking its first steps toward becoming an acknowledged classic and a massive influence on a generation of bands. Refused Are Fucking Dead! became the slogan, as kids discovered Shape and its breakout track “New Noise” only to find their new heroes disbanded. Refused Are Fucking Alive! After a 2012 invitation to reform for the Coachella festival, Refused followed its first shows in 15 years with a triumphant tour, as every kid who had discovered them after death came out to see them reborn. Now comes Freedom, the first album in almost 20 years, on Epitaph, the label that released The Shape of Punk to Come all those years ago. Freedom explodes out of the speakers with opening track “Elektra,” as frontman Dennis Lyxzen’s throat-shredding declaration that “nothing has changed” catapults Refused into the 21st century. If Shape blasted apart the constraints of the punk and hardcore worlds with which Refused had long been associated, Freedom goes a step further by incorporating the wide-ranging influences that have shaped each band members’ personal tastes. Produced by Nick Launay (Gang Of Four, Public Image Ltd., Nick Cave, Arcade Fire) with additional work by fellow Swede and longtime Refused fan Shellback, Freedom is not just a follow-up to Shape, but a living breathing snapshot of a band, alive, now. “It’s not a reunion anymore,” Lyxzen insists. “This is one of the most radical things we’ve ever done, both musically and lyrically.” (LP version contains download card) |
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Screeching Weasel [Baby Fat Vol.1] June 30 street date. Act 1 of a rock opera by Screeching Weasel. Featuring performances by Ben Weasel, Kat Spazzy, Blag Dahlia, Roger Lima, Chris Burrows, Todd Congelliere, Paul Collins, Joe Daiza, Line Dahlman, Zac Damon, Pierre Marche, Mike Hunchback, Poutine, Dave Klein, Chris Gaylor, The Manges, and more. LP version available July 24th. |
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Seaweed [Actions And Indications (remaster 2015)] Please note new street date August 7. 2015 remastered reissue! Includes download code with bonus tracks! Seaweed formed out of the fertile northwest punk scene of the mid-to-late ‘80s in Tacoma and Olympia Washington. Singer Aaron Stauffer, fresh off a stint in the little-known Spook & the Zombies, founded the band with best friend Clint Werner, who assumed guitar duties. After the recruitment of guitarist Wade Neal, bassist John Atkins, and drummer Bob Bulgrien, Seaweed began playing clubs throughout the Pacific Northwest. From 1989 to 1999, Seaweed recorded five punk-pop LPs and played over a thousand shows. According to All Music Guide, “they played D.I.Y. with the Sub Pop label for their first three records, went ambitiously astray by signing with Hollywood Records, then did the cool right thing by returning to indie Merge.” This August, Merge Records offers the vinyl reissue of 1999’s Actions and Indications, remastered and pressed to high quality vinyl, with three unreleased bonus tracks (digital only) added. Originally recorded at Tacoma’s Uptone Electric studio in the summer of 1998, Actions and Indications is a tour de force of power chord dynamism. |
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Sleaford Mods [Key Markets] Please note new street date July 24. Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." Sleaford Mods are Jason Williamson: words; Andrew Fearn: music. "Sleaford Mods sound like nothing else. Nothing like the rest of the desperate professional indie fodder hurling themselves from frying pan to flame. Hoping one day to get an Achilles heel on the Glastonbury career ladder... Sleaford Mods are a band who others will try to imitate. They will fail. Fuck 'em. Best band in the land. It's that simple." --The Quietus // "Some of the best music being made in England right now is happening from artists creating a lurid, livid portrait of a country that's not right in its head... Nobody is doing it as explicitly as this duo... and frankly it's a pleasure to for once hear music that's made with such bile, such attack." --NME |
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Sonic Youth [Evol] Please note street date change to July 24. The third studio album by Sonic Youth, originally released in May 1986 on SST Records, shows the first signs that the band was ready to transform their no wave past into a greater alternative rock sensibility. “EVOL … mark[s] the true departure point of Sonic Youth’s musical evolution,” says Pitchfork, who place the album in the #31 slot of their Top 100 Albums of The 1980s. “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, [impose] melody and composition on their trademark dissonance.” Stereogum likewise praises the album as one that is “full of suspense…, the cornerstone [of] the Sonic Youth sound…, ground zero for the combination of chiming guitars and atonal skronk… [and] muggy delirium…. The virile ‘Tom Violence’ sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The off-kilter [droning love song] ‘Starpower’ … is sung [by Kim Gordon] in a frosty [Nico-evoking] monotone. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers into the vocal booth.” “EVOL slithers into the unconscious,” notes Popstache. “Once the [detuned melodies and haunting riffs and] final whispers of feedback [of ‘Expressway to Yr. Skull’] depart from the speakers…, the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” “The seeds of greatness…” —Pitchfork |
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soundtrack [Rocky Horror Picture Show: Absolute Treasures (2LP)] July 24 street date. “Absolute Treasures” is the expanded reissue of the soundtrack for the 40th anniversary of the 1975 cult musical film “The Rocky Horror Picture Show” starring Tim Curry, Susan Sarandon, Meat Loaf. The album includes ALL songs from the film, on CD and vinyl , for the first time, including Planet Schm anet Janet, Once In A While, The Sword of Damocles, and Planet Hot Dog! CD is Digipak, LP is a two disc set on red vinyl. |
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Stars Of the Lid [And Their Refinement Of The Decline (3LP)] August 14 street date. This is the first time this monumental album has been available on the vinyl format in five years. "I simply feel that they are making the most important music of the 21st century." - Ivo Watts-Russell (4AD label founder) // "Crushingly sad, lightly melancholic, or even uplifting, depending on the state of mind of the hearer... a sound divorced from intention and its ambiguity is its strength." - Pitchfork // "The sound of deep sea disintegration... a work of art." - Tiny Mix Tapes // "Music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. Deeply moving... virtually anyone who encounters it will be in some way moved by the impure music it contains." - AllMusic // "Traces the fluid contours of a void through diaphanous lines that reveal all of its miasmal abstraction." - Dusted // "A two-hour juggernaut of careful dynamics and warm tones." - XLR8R. |
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Stars Of the Lid [The Tired Sounds Of (3LP)] August 14 street date. This is the first time this monumental album has been available on the vinyl format in five years. "Their relentless commitment to subtlety sets them apart, as does their masterful hand with tone... dissonance is doled out in small portions, perfectly coloring the sculpted fields of sound." –Pitchfork // "One of the most beautiful recordings we have ever heard." –Aquarius Records // "A fantastic masterpiece, missing this would be foolish." –Touching Extremes // "Put simply, 'Tired Sounds Of...' is one of the most unremittingly beautiful albums I've ever heard." –Drowned In Sound |
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Superchunk [Come Pick Me Up (180g/remastered 2015)] July 10 street date. 2015 Remastered reissue! CD is 4 panel wallet with booklet + bonus content dload card / LP is jacket & euro sleeve+ 180g vinyl + full album & bonus download code. In March of 1999, Superchunk traveled to Electrical Audio Studios in Chicago to record the tracks that would become Come Pick Me Up. The addition of producer Jim O’Rourke allowed Superchunk to advance their sound with more experimentation, including horn and string accompaniments. Ken Vandermark, Jeb Bishop, and Bob Weston provided the horn section (saxophone, trombone, and trumpet, respectively) while Fred Longberg-Holm and Suzanne Roberts contributed on cello and violin. “It was exciting to work in the big room downstairs at Electrical. For part of our visit we also slept there, in the dark except for lights on all the gear blinking. It snowed a ton the day we got there, and I didn’t go outside for the first five or six days we were there,” Mac recalls. “I read an interview where O’Rourke said we tried to make a twomonth record in two weeks or something. I’m sure he’s right—we never wanted to spend the time or money making records the ‘proper’ way, but I like how this record came out, and it has some of my favorite songs of ours on it.” |
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Titus Andronicus [The Most Lamentable Tragedy (3LP)] Please note new street date - August 7. The Most Lamentable Tragedy [hereafter TMLT] is the fourth studio album by Titus Andronicus [hereafter +@] and the band’s debut for Merge Records. The central narrative of TMLT (“a work of fiction,” claims singer/songwriter Patrick Stickles) concerns an unnamed protagonist whom we meet in deep despair. Following an encounter with his own doppelgänger (an enigmatic stranger, identical in appearance though opposite in disposition), long held secrets are revealed, sending our protagonist on a transformative odyssey, through past lives and new loves, to the shocking revelation that the very thing that sustains him may be the thing to destroy him. TMLT was produced by frequent collaborator Kevin McMahon and +@ lead guitarist Adam Reich. The core band is rounded out by the long-standing rhythm section of Eric Harm (drums) and Julian Veronesi (bass) plus rookie guitarist Jonah Maurer. Joining in throughout are pianist Elio DeLuca and violinist Owen Pallett, beside a cast of guests representing some of New York’s most exciting bands (The So So Glos, Baked, Bad Credit No Credit, Lost Boy?, etc.). TMLT is both the crown jewel of the band’s discography and the legend that contextualizes their entire body of work. It reveals that +@ are what hardcore fans have said they are for years, and what the world must now recognize them to be: not merely the greatest rock and roll band of this era, but one of the greatest rock and roll bands of all time. |
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Useless I.D. [The Lost Broken Bones (re-issue)] July 24 street date. The Lost Broken Bones is the second Fat Wreck Chords offering from longtime ambassadors of Middle East punk rock USELESS ID. The Lost Broken Bones was, itself, nearly lost soon after its original release in 2008, as the label that put it out went under. Fortunately we’ve excavated this rare gem, polished it up a bit, and are putting it on full display. Initially made up of 12 tracks recorded at The Blasting Room (Rise Against, NOFX, Alkaline Trio) under the watchful eye of punk rock royalty Bill Stevenson (Descendents, Black Flag), The Lost Broken Bones now also contains 7 bonus tracks culled from the same era. The resulting collection is a fantastic blaze of front-and-center, immense sounding punk rock. On point production elevates the 19 tracks on The Lost Broken Bones into another class. The catchy melodies and riffy appeal of the album rival the benchmark set by genre mainstays Rise Against, No Use For a Name, and Alkaline Trio. No need to don a pith helmet; Fat’s done the dirty work for you. Just sit back and enjoy this mislaid punk rock treasure. |
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V/A [Here Today!: The Songs Of Brian Wilson] July 10 street date. It's hard to believe 12 years have passed since "Pet Projects: The Brian Wilson Productions", one of the first releases in our much-admired Producers series. Not before time, Wilson now joins such greats as Randy Newman, Laura Nyro, Goffin & King, Dan Penn, Bacharach & David, Jackie DeShannon and Serge Gainsbourg in our equally high profile Songwriters series. The collection opens with 'Do You Have Any Regrets?' by Darian Sahanaja of the Wondermints, a rare composition from Wilson's unissued "Sweet Insanity" album of the early 90s. While Wilson's version was a rather frantic latin-styled piece, Sahanaja's recording is an homage to the 1965-era Beach Boys. Along with collectable tracks by Johnny Wells, Basil Swift, the Castells, Joey & the Continentals, Keith Green and Peggy March, Sahanaja's luxuriant cover makes its legit CD debut here. Other highlights include heavenly versions of songs from the Beach Boys' masterpiece "Pet Sounds" by Kirsty MacColl, Carmen McRae, Nick DeCaro, Betty Everett, Bobby Vee and Louis Philippe. Those who own a copy of Kirsty MacColl's harmony-drenched 'You Still Believe In Me' single might have noticed a message etched into the run-off groove: God Bless Brian, an emotion seconded by all lovers of great music. Compilation and notes by Kingsley Abbott, Mick Patrick and Harvey Williams. |
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V/A [Going Nowherer Fat: Fat Music Vol. 8] August 7 street date. (Also available on limited 2LP Vinyl - September 4th release date) 2015 marks Fat Wreck Chords’ 25th anniversary as a label! We’ve come a long way since starting out in Fat Mike’s (NOFX) kitchen a quarter century ago, putting out monumental albums from NOFX, Lagwagon, Strung Out, No Use For a Name, Propagandhi, Rise Against, Against Me!, The Lawrence Arms, Me First and the Gimme Gimmes, Descendents, and many more. Besides having one of the most qualitatively and quantitatively impressive rosters in the punk world, Fat Wreck Chords can also boast the creation of the most recognizable compilation series in the genre, including such classics as Survival of the Fattest and Live Fat, Die Young. The FAT MUSIC series is regarded as the gold standard of label comps. Based on their hallmark of front to back quality, the FAT MUSIC comps acted as a gateway into an array of new bands for many young punks. In honor of Fat’s 25th birthday, putting together the latest edition of the series was a no-brainer. Packed with 25 (get it?) tracks, FAT MUSIC VOL. 8: GOING NOWHERE FAT continues the proud tradition of the comp series with new hit songs from label heavyweights and some of Fat’s recent sensations. The collection also features previously unreleased offerings from NOFX, Swingin’ Utters, Leftover Crack, Western Addiction, Night Birds, and PEARS. From start to finish, FAT MUSIC VOL. 8: GOING NOWHERE FAT shows off exactly why Fat Wreck Chords has been an admired punk rock institution for 25 years. In celebration of Fat’s silver anniversary, and in support of the new comp, many of the bands featured on the album (NOFX, Lagwagon, Strung Out, Swingin’ Utters, The Flatliners, Masked Intruder, toyGuitar, Bad Cop/Bad Cop) will team up and embark on the Fat Wrecked for 25 Years Tour. The tour will hit major markets throughout North America over the month of August, and will culminate with a three day festival in San Francisco featuring more than 25 Fat bands. |
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CARIBOU'S "Our Love" ON POLARIS SHORT LIST! |
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Shipping This Week
Shipping Next Week
Staff Picks
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Aphex Twin
Computer Controlled Acoustic Instruments PT2
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Black Devil Disco Club
Disco Club
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Bland, Bobby "Blue"
Angel In Anguish: The Deep Deep Soul Of Bobby Bland
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Dalhous
Will To Be Well -
Godflesh
A World Lit Only By Fire
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Herndon, Holly
Platform (2LP)
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Miriam
Nobody's Baby
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Prurient
Frozen Niagara Falls (3LP)
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Shit And Shine
54 Synth-Brass, 38 Metal Guitar, 65 Cathedral
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Springtime Carnivore
s/t (LP + CD copy)
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Toop, David
Lost Shadows: Yanomami Shamanism, Songs, 1978
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V/A
Music of Tanzania (2LP/Ltd/gatefold)
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Virginia Wing
Measures Of Joy (deluxe/coloured vinyl) -
Weaver, Jane
The Silver Globe
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Wire
Wire (2015)
