New record pressing – Iron & Wine – Archive Series Volume 6!

Available exclusively on the upcoming Light Verse Tour. The limited edition 12″ LP contains 10 cover songs, many of them previously unreleased.

New record pressing – Expected Highs – The Last Song on the Album.

Expected Highs is a recording project led by Victor Thompson, multi-instrumentalist, singer, composer, and producer and the former lead singer of The Flavor Channel. Building on a foundation of big guitars and big hooks, Expected Highs combine elements of power pop, post-punk, new wave, garage, surf, and 21st century psych rock into a heady sound that pulls the past into the future. 

New record pressing – Charlie Nothing – The Psychedelic Saxophone of Charlie Nothing.

John Fahey’s Takoma label is best known for pushing the envelope when it comes to acoustic guitar playing, but in 1967 it released a record that has become one of the true cult classics of the ‘60s free jazz movement. Charles Martin Simon was an aspiring writer whose artist wife died in 1965. When he tried to pick up the torch and become an artist using her art supplies, he was, in his words, “reduced to nothing,” and thus created an alter ego or “psyche fragmentation,” Charlie Nothing. Under that moniker he became most famous for creating “dingulators,” working guitar sculptures made from parts of American cars; in 1967, though, he recorded The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic, an album consisting of two separate saxophone improvisations accompanied only with gong, tabla, and ukelele. Its cover adorned by Nothing’s own hand-drawn art, this record has since become not only something of a “secret handshake” among free jazz fans, but also a classic of outsider art, fitting right next to your Moondog records if not in sound than in spirit. For its first ever reissue in any format, we’ve gone back to the original tapes to present an all-analog release of The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic on black vinyl with the original art intact, offering an unfiltered experience of this man’s cracked genius. A memorable look ‘n’ listen to say the least.

Courtesy of Real Gone Music.

New record pressing — R.R. Williams is the solo project of Mike Williams. It is named after his father Reginald Roy Williams as a tribute to his memory. All recorded music is performed by Mike in his garage.

Pre-order is up now:

New record pressing – Rumskib – Previously Unreleased.

The Rumskib story as told by Keith and Tine:

Keith: Cocteau Twins, Stereolab, Ivy and Massive Attack were constantly on repeat back in 2000. I had to do something about my passion for these music styles. Just across the street from where I lived there was a local music library. I went there to put up a note.

Tine Louise: The library was my favorite spot. They had a small Pro Tools Studio that you could book for free. I often went there to record my own music for my art projects.

One day a handwritten note, “Looking for a singer. Cocteau Twins”, caught my attention, because my art school girl friend had just intrigued my ears with “Heaven or Las Vegas” from her record collection. I called the number.

Keith: I had a couple of singers over for a talk and a demo audition, which were good, but it was when Tine came by and sang, that I thought WTF here is the singer I have been looking for. She could work on a track and be creative and I would leave the room and stick my head in once in a while to hear how it was going. She sang so beautifully and hit my original idea right on target.

Tine Louise: One day I came to Keith’s basement apartment. A good friend of mine got me so furious … And from this anger the song “Where are the Flowers” grew. I think Keith felt my anger and disappeared. A couple of hours later when he returned this was what I had recorded on the timeline. youtu.be/56fcwdx6KWY

In the beginning the set-up was real low-fi. Sometimes the window was open and you could hear footsteps of people walking by and car engines accompanied my voice recordings.

Keith: In those early days I had a 8 track Zip disk recorder, some of the tracks from that machine made it to this album. Later on we used the studio at the music library, which was a notch up. Tine was busy with her art projects and I was studying Literature science. Without me being overly busy … sometimes we didn’t see each other for six months or even a year.

It wasn’t until around 2004 that we really got things going, putting various material up on Danish music sites and meeting up with each other more frequently.

Tine Louise: Often Keith had recorded a bunch of real nice soundscapes of guitars, beats and drums. And I went on board. He was really productive … wow I just felt happiness listening to his crunchy guitar melodies. I took a pile of secret notes from my drawer … and the words formed into melodies climbing Keith’s mountains of guitar sounds.

Sometimes Keith had already recorded his own voice. Sometimes I put my
voice on top. Sometimes I just started up another melody. Sometimes I mixed english and danish lyrics. It was kind of rock’n’roll. No rules!

Keith: We just liked making music. We didn’t think we were even that good I remember. I was shocked by the comments we got on the Danish sites in the beginning of our online adventure. Some people really liked our stuff. We got better and better and got more attention, which suddenly led to Quince Records and then Darla Records for our debut release.

We got a lot of attention on that first record in 2007-2009. We started up a
live band and went on small tours. But then it kind of stopped. I was moving to Copenhagen and was eager to do something on my own and Tine was busy with all her art projects. So, it’s nice to be back again. We hope you will enjoy this trip down memory lane with us.

– Tine Louise and Keith Canisius, Rumskib (2023)