Rock & Indie Vinyl 10 Inch 328 Items

Limited edition for Record Store Day 2018!

Limited edition for Record Store Day 2018!

Seven songs by Rully Shabara and Wukir Suryadi, rootsily mystical and vividly al fresco, spiralling from peripheral sites beside rubbish dumps and rice fields, into a busy market at the heart of Yogyakarta, from dawn till dusk.

Configuracao Do Lamento is a sound riot, a trance-inducing cacophony, a body-shaking mix of percussive rhythms and bending guitars. The seventh album by São Paulo, Brazil’s Deaf Kids is harmful for the weak-minded. An experimental mile marker on the band’s journey, it is as treacherous on the ears as hypnotic to the mind. Expanding the band’s D-beat origins, these eight tracks vacillate between demonic fever dreams, orgies of acidic guitars and percussive taunting. Sometimes songs are not songs anymore, but assaults which clatter and hum like rough metallic windchimes in gale force winds.

The band was formed in 2010 in the industrial city of Volta Redonda / Rio de Janeiro as a solo fuzz-soaked blend of crust / D-beat before bass and drums were added. Seven years, seven releases, two European tours, gigs across Brazil and more than one hundred shows later, the band remains steadfast on a path of sonic mind control. Their releases explore different takes on the hypnotic rhythms that comprise D-beat. When the band moved together to São Paulo, they began to blend each member’s musical and aesthetic taste with a common interest in mesmerizing grooves and psychedelic rhythms from around the globe. They now produce overwhelming, sensory-driven dirges that carry a Brazilian (and Latin American) imprint. Deaf Kids is the legitimate bastard child of colonial chaos—trapped here and there, between both complementary and opposing worldviews, trying to balance the intensity and conflicted human condition.

Bird Brains is a four song collection from Holy Fuck, recorded live at various studios over the past few years. They represent the ongoing creative process of a band whose members live in different cities (in both Canada and the US) yet insist their music should be a collaborative process. These four songs aim to capture the raw energy of four people, not apart as bedroom producers, but together as a spirited exchange of ideas, a dynamic interaction that comes from years of friendship. While Bird Brains was largely self-produced, a few very talented Engineers/Producers aided greatly in that process, including Shawn Everett (John Legend, Warpaint, Alabama Shakes), who recorded the song “Chains” at The Banff Centre for the Arts, and David Wrench (Caribou, FKA Twigs, The XX) who mixed the song “New Dang”. The cover image was designed by long time friend Seth Smith, visual artist, film maker, and musician from Nova Scotia. As the band describes, “the image is quite gross and beautiful, natural and artificial all at the same time, which we feel best represents how we hear our music.”

Presented on 10-inch wax, this is the amazing collaborative EP between American artist and performer Jarboe and the Italian occult duo Father Murphy. This limited edition release, which will appeal to fans of a.o. Swans, Neurosis and Diamanda Galas, includes a free download.

An enjoyable 10" containing many versions of Little Willie John's classic tune 'Fever'.

Angels Dust is vocalist Flavia Campi and producer avid Lampley. Their bewitching, hypnotizing yet soulful debut summons the same heaviness and somber darkness of Portishead & Mazzy Star. Ciampi's almost-whispered vocals are front and center, anchored by loose swinging beats that are as unnerving as they are catchy. Lampley (also known as Psychopop, one half of San Diego instrumental noise legends Skrapez, as well as a frequent Gonjasufi collaborator) handles the gritty lo-fi production duties.

Reissue of Fu Manchu's first 3-song 7-inch with one additional cut, an unreleased 1990 recording. Also included is a donwload card for another previously unissued track, 'Flashin', which dates from 1990.

2-song 10 inch single from Los Angeles' own Entrance Band featuring Paz from A Perfect Circle and more recently The Pixies. Each one comes with an incense and one of the band member's names is printed on it. These are limited to 300 copies.

Four-piece post-punk group Ought has been gathering momentum the old-fashioned way, with a humble and deceptively unassuming debut album that's been worming its way into many many ears thanks to its combination of intelligence, authenticity, directness, simplicity and energy; and with live performances in which the band's channeling of genuine passion, politics and charisma are consistently connecting with and exuberantly galvanizing audiences.

Released in April 2014, More Than Any Other Day was showered with accolades. Since then the band has been mostly on the road, racking up tour dates and ramping up the attack on their existing songbook. Discussion of a tour-only release that would grab a couple of the band's self-recorded early tunes and commit them to vinyl shifted by the end of spring towards a realization that Ought might update this material to reflect how the songs have evolved on stage and in concert. An intense weekend session at Montréal's Hotel2Tango in June 2014 yielded new recordings of two early pieces, "Pill" and "New Calm Pt. 2" (the self-recorded 2012 versions of which remain available on Ought's Bandcamp) along with the brand new, more experimental and largely instrumental "New Calm Pt. 3". The fantastic non-album track "Waiting" from the More Than Any Other Day sessions (and the first tune to be given out via Constellation when we announced the Ought signing) rounds out this 4-song, 24-minute, 10" vinyl-only offering, suitably titled Once More With Feeling…

Limited edition for Black Friday RSD 2014!

This 10-incher offers powerful and authentic rockabilly from Charlie Hightone and his Rock-It's, who are among the most popular bands on the European rockin' scene. Their early releases have been packing the dancefloors with boppers, and this second full-length release is sure ton have a comparable impact. 'Small But Loud' includes contributions from Big Sandy and Vesa Haaja (The Barnshakers).

Previously only released as a CD single in August 1992!

6 tracks

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

These cats hail from Nashville, TN, and they call themselves Dixie Fried. Their music falls into many categories: hillbilly boogie, western bop, hillbilly bop, drum-less rockabilly, rockin’ hillbilly, hillbilly rock…you get the drift. We really dig ‘em. They’re a pure example of early rock and roll, before it was even called that – the type of upbeat music Elvis was doin’ at Sun Records. Here these fellas show you they have captured that style to perfection, recording it all live in one room, raw, without tricks or gimmicks. They can bop and play pretty music at the same time; this 10-inch LP clearly proves all that and more. We at Sleazy Records welcome Dixie Fried, and sincerely hope you dig ‘em too!

Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. A series of performances, billed as “Night Events” were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles”, but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos.

Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. A series of performances, billed as “Night Events” were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles”, but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos. *Special Edition includes a Cd-r of a interview program with the producers of "Beam Penetration" in 1970. At the end of the program, the Flower Travellin' Band appeared with motorcycles and performed in the studio. Also includes insert with English translation of the interview.