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Vinyl Pressing: The Mutants

New vinyl pressing! The Mutants – Curse Of The Easily Amused.

It’s hard to let go of a good thing. More than four decades after the Mutants first appeared on the San Francisco underground music scene, four of the original members are still playing shows together under that name in 2022. After all, mutants are known to mutate, and that’s what this colorful, energetic musical collective has been doing off and on since 1977.


Perhaps even more surprisingly, the sessions for their lone album, 1982’s Fun Terminal, continue to bring forth lost nuggets. In punk and new wave lore, Fun Terminal is considered a troubled project. Prior to the album’s appearance, the Mutants had released only one 7-inch single — 1980s’ The Mutants EP — and the band also had songs featured on two local compilations. Both the EP and one of the compilations were issued by 415 Records, the legendary Bay Area indie that made the jump from the new wave trenches to the majors when they signed a deal with Columbia Records in 1981. Many scenesters felt that the Mutants should have begun album sessions for 415 immediately after the EP, but that didn’t happen.

Vinyl Pressing: Savage Republic

New vinyl pressing! Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since.

For its 40th anniversary edition, Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started.

Vinyl Pressing: Ghost Orchard

New Vinyl Pressing: Sam Hall’s new album as Ghost Orchard, Rainbow Music, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered Bunny was a love letter to a romantic relationship, Rainbow Music documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed.

Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone.

Vinyl Pressing: Sorry Eric – The Problem With Fun

Coming soon in October from Cincinnati-based Happy Families — Sorry Eric is propelled by blue collar midwestern modernity, Eric turns it all to gold. Beautiful NZ influenced indie rock that’s too lame to be cool.

Stay tuned for order info!

Flat Teeth — Silent Seconds

Faux Co. — Radio Silence

Spray Paint — Into The Country

Cash Rivers & The Sinners — Loose Shoes

While searching through the various bits of detritus left behind from the Horizontal and the Vertical, the crew at Rockathon Records uncovered a fully-formed album of unheard Cash Rivers and the Sinners material. The commercial release of this material is explicitly forbidden by Mr. Rivers and his representatives. However, due to ongoing disputes, Rockathon will be issuing this new album as an unauthorized bootleg in open defiance of Mr. Rivers.

Mungion — Ferris Wheel’s Day Off

Mungion - Ferris Wheel’s Day Off - New 2 Lp Record Limited Edition Colored Vinyl (Handnumbered to 250 & Signed by Band!) - Chicago Prog / Jam Band

Limited edition hand-numbered color vinyl available from Shuga Records.

Drekka — No Tracks In The Snow

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<p><em><a href=No Tracks In The Snow — A collection of early ambient and experimental works from prolific American artist Mkl Anderson (lovesliescrushing, 4K, Bluesanct Records). Album includes 8 tracks recorded between ‘96-’02, for fans of Current 93, Nurse With Wound, Loscil, Halfer Trio, and Flying Saucer Attack…

For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka.  He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams – the real ghosts of time and sound.

“No Tracks in the Snow” is a collection of tracks from the early days of Drekka’s history; the third offering for Dais Records and an appendix between the second and third parts of the ‘Tarwestraat’ trilogy of LPs for the label.

Recorded between 1996 and 2002, the album showcases Drekka’s early
exploratory development across a variety of styles. And yet it is also
Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges’ “A Personal Anthology” – or indeed any of Drekka’s own recent work – this recording can be understood as a cohesive narrative more than as a simple compilation.

As Drekka moved from its Bristol UK influenced space folk beginnings,
backwards towards Anderson’s earlier UK industrial tape culture
foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one’s own history. This process would become a cornerstone of Anderson’s work for the decades to follow.

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