Live On Lacquer preserves music in a way that is timeless and genuine. Much like the way records were made in the mid-20th century, these songs are captured live and cut in real-time onto lacquer discs with our 1940’s Scully vinyl lathe. Once cut, the lacquer masters are immediately sent off for plating and pressing. Each song is recorded in one take with no editing, allowing for the truest expression of the artist’s performance to be captured. The recording method used here is 100% analog and retains a level of humanity and imperfection often lost in modern digital productions.
The following equipment was used to make this record:
Microphones – Lawson 251, Royer 121, Coles 4038 (pair)
Preamps – Neve 1073
Compression – Empirical Labs EL8, Smart Research C2, FCS P3SME, Maselec MLA-3
Equalization – Squarewave Industries Net EQ and Stereo Width Control
Lathe – 1940’s Scully vinyl lathe with Westrex 3D-II Stereo cutter head and 1700 cutting amplifier
Record Press – Hamilton M-225 BX
A limited quantity is available for preorder now!
Sea of Noise, the second full-length album by St. Paul and the Broken Bones, marks a quantum leap in sound and style for the high-voltage Birmingham, Alabama-based band.
Produced by Paul Butler and recorded at Nashville’s Sound Emporium, the group’s sophomore effort features an expanded eight-piece lineup of the widely praised soul-based rock unit. Longtime members Paul Janeway (lead vocals), Jesse Phillips (bass, guitar), Browan Lollar (guitars), Andrew Lee (drums), Al Gamble (keyboards), and Allen Branstetter (trumpet) are joined by Jason Mingledorff (saxophone, clarinet, flute), and Chad Fisher (trombone).
Sea of Noise is a successor to the Broken Bones’ 2013 debut album Half the City, which introduced the group’s blazing mating of ‘60s soul fire – daubed with latter-day influences like Sly Stone, David Bowie, and Prince — to Janeway’s impassioned singing and writing. The new album witnesses a deepening and broadening of the unit’s musical reach and lyrical concerns.
Read more, and be sure to grab the the record available at indie stores everywhere (and beyond) September 7!
In 1976, Aura quickly rose to the top as Hawaii’s preeminent funk band when it secured the most coveted gig in Honolulu’s nightclub scene: a residency at The Point After. Consisting of eight siblings from the Mendoza family of Waipahu, Aura became the first local band ever to play the venue. They kept the gig for ten years.
When they got into the studio in 1979, however, the band embraced ideas outside of their usual live act in the spirit of collaboration, absorbing new ideas from drummer Mike Kennedy, saxophonist Bill Popaka, and producer Gary Shimabukuro. The resulting eponymous album is a potent blend of jazz and funk highlighted by their signature sibling sound: an unstoppable horn section and two sisters as lead vocalists.
“Magic Lover” showcases what Aura can bring to the dance floor with its incredibly tight brass, solid groove, and dirty bass line—elevated by the voices of Beverly and Christine Mendoza. But a funk group is only as good as their ballads, and “Let Go, It’s Over” is proof they’ve got just as much talent when the tempo slows down.
Armed with electric guitars, swooning vocals, and songs that split the difference between rock & roll and dreamy psychedelia, Angela Perley & the Howlin’ Moons pack the biggest punch of their career with Homemade Vision.
Like the band’s debut, Hey Kid — an album whose kickoff track, “Athens,” earned Perley an International Songwriting Award in 2014 — Homemade Vision was recorded in the Howlin’ Moons’ hometown of Columbus, Ohio. Many of the songs were dreamt up somewhere along the highways and backroads that crisscross America, though, coaxed into life by a group of roots-rock road warriors who regularly play more than 100 shows a year. As a result, Homemade Vision is the sort of wide-ranging record that creates its own geography, building an imaginary place where the influences of David Gilmour, Tom Petty, Led Zeppelin, and Nebula all intersect.
It’s also the work of a genuine band. Chris Connor’s guitar playing — a flurry of fuzz, crunch, twang and bang — occupies just as large a role as Perley’s voice, while Billy Zehnal’s bass — coupled with cymbal crashes and snare hits from an arsenal of heavy-hitting drummers — glues the mix together. Inspired by love, heartbreak, and everything in between, Homemade Vision is a battle cry from a band that’s spent years fighting the good fight, carving out their own brand of atmospheric, aggressive Americana along the way.
Recorded in a makeshift motel room studio in the winter of 1969, and self-released in a micro-edition in 1970, this folk-rock gem must be counted among the earliest self-produced “private press” LPs…With it’s stripped-down production, and ‘basement tapes’ atmosphere, Bill Jerpe’s album offers listeners an unvarnished glimpse into the Hudson River Valley’s vibrant music scene in 1970. Top shelf DIY psych folk for fans of Late ’60’s Dylan, The Band, Jackson Frank, and F.J. McMahon’s “Spirit Of The Golden Juice”. Virtually unheard for 45 years, this release is long overdue — available now from Soft Estate Records.
In celebration of the 25th anniversary of Daisychain Reaction’s release, Lotuspool Records is proud to present the definitive vinyl edition of this early ‘90s classic engineered by Steve Albini. The album’s twelve songs have been remastered from the original tapes and cut to lacquer by Bob Weston of Chicago Mastering Service and pressed onto 180 gram black vinyl.
The package features a 16-page retro fanzine with a new, exclusive essay by Jon Fine (author of Your Band Sucks) and reflections on the making of the album by members of the band. In addition, three previously unreleased tracks (an early version of Where We Live from the Albini Flower Plower sessions and 1989 demo versions of If You See Kay and Where We Live) are included as an immediate digital download.
Morricone Youth performed this original live score composed and performed by MORRICONE YOUTH to Lotte Reiniger’s 1926 German animated silent film at Nitehawk Cinema, Williamsburg, Brooklyn on September 28, 2012. This vinyl edition is limited to 500 copies, and is available now.
Devon E. Levins – Guitar
John Castro – Bass, Vocals
Dan Kessler – Keyboards, Percussion
Fraser Campbell – Tenor/Soprano Saxophone, Flute, Glockenspiel
Timur Yusef – Drums, percussion
Ayo Awosika – Vocals
Conrad Harris – Violin
Quinn McCarthy – Percussion
The word “din” has two meanings. As a noun it refers to a prolonged, disruptive noise, as a verb it means to learn something by repetition. So it’s no wonder diNMachine makes music that is often challenging: its rhythmic energy and immersive auditory elements demanding a certain commitment from the listener. That’s not to say that their fusion of the eccentric, the propulsive and the avant-garde comes without a wild sense of fun…just that there’s nothing “cookie cutter” or “spoon fed” about it.
Like their home base of NYC, diNMachine’s amoebic dance-rock is awash in a rich multi-cultural blend of styles. It has the energy and power of youth oriented music while also appealing to the more cerebral of music lovers. Its Indian, African & South American styles interplay with jazz and avant-garde, all set upon a bed of field recordings, drones and an urban sensibility.
In Bloomington is a live concert recording from December 11, 2015, documenting a rare, full-band version of Owen Ashworth’s nostalgic, melancholic bedroom pop project, Advance Base.
Drawing heavily from Advance Base’s previous two albums A Shut-In’s Prayer (one of MOJO Magazine’s top 20 albums of 2012) &Nephew in the Wild (PopMatters’ #1 Indie Pop album of 2015), In Bloomington explodes the claustrophobia of Ashworth’s (mostly) solo, lo-fi, drum-machine-accompanied home recordings into something grand, human & joyous, captured in glorious high fidelity.
This year marks the 20th Anniversary of Robert Pollard‘s first solo album, Not in My Airforce. On September 9th GBV Inc will be reissuing the album in the format the artist originally intended. The final six songs (Party, Did it Play?, Double Standards Inc, Punk Rock Gods and Good Luck Sailor) will be on a bonus 7 inch EP.
Originally released on Matador Records on September 10th, 1996, the album includes several classics that became GBV live staples through the years: “Psychic Pilot Clocks Out”, “Flat Beauty”, “Quicksilver”, “Maggie Turns To Flies” and “Get Under It”. This release was remastered from the original DAT and will be limited to 2000 copies worldwide. The LP is pressed on transparent yellow vinyl and the EP on black vinyl. Available for pre-order from Rockathon now!