Here it is, a release we've really been waiting for to annouce. The «Wisdom Comes Through Struggle EP» by Valance Drakes, a young producer based in London UK, which we are sure going to hear more from in the near future. The unmistakable talent and modality presented by Valance Drakes is expressed in the beautifully intricate sounds and arrangements. Crunchy dubs & elaborate drum works.

Limited edition split color vinyl (half mint, half black) of 600 units.

"Enjoy Tonight" is the vinyl debut by Divine Scienze, released via a special partnership between Blu’s New World Color and Redefinition Records.
Divine Scienze consists of two members, Scienze (Brooklyn) & King I Divine (Queens/ATL). This is a special and limited pressing that includes two songs that were previously only available as digital downloads as well as a brand new collab with the highly respected Cali MC, Blu.

Two massive steppers from the king of the Bristol dub sound. ZamZam is proud to present two brand new exclusive dubs for the dance from the Bristol don ROB SMITH DUBS aka RSD. These future classics demonstrate precisely why Rob Smith has been ruling the world of dubwise dance music for two decades, helping to define the Bristol sound as MORE ROCKERS and BLUE & RED, and as part of seminal UK crew SMITH & MIGHTY. This ZamZam 7" continues a string of massive releases on labels including Punch Drunk, Scrub a Dub, Steppas, 2 Kings and Moonshine. "Perfect Timing" is a true powerhouse, a massive track with Rasta vibes and techy touches sure to be huge with selectors worldwide. "No Fear Dub" is a more traditional UK steppers tune, framed by massive bass and epic skanks to ram the dance. Edition of 500 copies packaged in hand-screened jackets.

ZamZam steps outside with two previously unreleased killers from RAZ MESINAI aka BADAWI aka LADYMAN. These storming tracks represent the outer limits of techy dubwise bass music, and continue Mesinai s legacy and illustrious CV, begun on labels including ROIR, Asphodel, through BSI, Tzadik and The Agriculture. Mesinai s tracks have also been remixed to devastating effect by the likes of Andy Stott, Kode 9, Machinedrum and Headhunter. "Lost Highway" is a tense, dark track for post-dubstep dances, full of menace and intrigue. A one-and-a-half-minute remix appeared on a critically-lauded Scuba mix-but the original has never seen proper release until now. "In The Lady Room" is an insanely catchy, brutalist, ravenous beast of a tune, with undertow bass modulation and warped melody designed to turn unsuspecting dancers into raving lunatics. Edition of 300 copies in hand printed sleeves.

Yeti returns with a new issue featuring great stuff like groovy posters from Christchurch, New Zealand in the '60s, designed by STUART PAGE of AXEMEN; a lengthy oral history of CODEINE, recent paintings by DAVIDMORENO, surrealist writer GISELE PRASSINOS, a FURSAXA interview, collages by ILYAS AHMED, comics, fiction, and a tone more. Includes a bonus 7-inch with tracks from GREAT UNWASHED, MOON DUO, TRYPES, and KAREN DALTON-none of which have been released on vinyl before. 8-inch square format, full-color wrap-around cover. 192 pages.

NEEDLECRAFT emerged from the wreckage of great, short-lived groups like 10 YEAR OLD GIRLFRIEND, FAG RAG and the excellently abrasive KNOT KNOCKED UP. We think they sound like the Shags, but they're also part of the whole neo-garage wave with folks like Shannon and the Clams, Hunx and His Punx and that whole Ty Segall-Oh Sees axis. It's part Waters/Hairspray camp, part uh... Ronnettes and some outsider mountain isolation. As a whole, it's a combo we can't get enough of. This is Needlecraft's first LP and the first pressing is a hand-numbered edition of 217 copies with screen printed jackets.

Bad Evolution inches CHASMS deeper into their bottomless pit of swirling doom. Choose your own adventure: a side of fuzzed out black metal guitar drone behind warm, sultry vocals that glide through meat-grinder bass and blistering industrial beats or flip it over for a dark, creeping, synth-driven, slit-your-wrists remix by THE SLEEP GENIUS. Either way, Bad Evolution is a slow ride through foggy San Francisco's shoegaze district ending at the corner of goth and doom. Edition of 250 hand-numbered copies pressed on blue vinyl. Includes download code.

RADKEY is a punk band from St. Joseph, Missouri made up of three teenage brothers, DEE, ISAIAH, and SOLOMON. Inspired by the music they grew up listening to such as Misfits, Ramones, The Who, and Death, the self-taught trio decided to form a band. Since they have played SXSW (2013) and the 2012 Afro-punk Festival in Brooklyn.

The debut record from your new favorite band from Chicago: the one, the only, UH BONES! These youngsters have been kicking around here for the last year or more, slowly converting the masses to their new gospel of rock n roll. They are steeped in the traditions of '60s rock n roll, there is no doubt. But they are well aware of the fact that we live in a post-Velvets era, and that you can't get use the same old playbook and expect anyone to care. So they have kept their sound fresh first by carefully calibrating the tone on everything from the guitar to the bass to the perfectly fuzzed vocals, and by having well-written, catchy, pop-minded songs which, while sounding familiar, really are like nothing you have ever heard before. And their execution is excellent. They've got a killer rhythm section, with their bassist and drummer keeping the band tightly in the pocket, great fuzzed-out vocal harmonies throughout, and an organ that manages to play just as little as is necessary that adds just a thin layer of awesome to their songs.

We here at Randy Records are honored to announce that we are releasing the first recording of the DEAD GHOSTS since their LP on Floridas Dying. One of the things that, in my opinion, sets The Dead Ghosts apart from their contemporaries is their ability to sneak just a little taste of country music into their patented reverb-soaked sound. Maybe they think no one notices, but I always do, and I love them for it. 'I Sleep Alone' is definitely case in point. When it comes down to it, this song is really just a country song about heartbreak, with slide guitar and everything, dressed up in a Back From the Grave Outfit, extra reverb. Great lyrics, great drums, great sound, great song. A song perfectly paired with a glass of whiskey and a heavy heart. 'Spot a Trend,' on the other hand, is much more sinister and punk, with lyrics that are more slurred than sung. Both songs are totally different from each other, but totally awesome. The Dead Ghosts have managed to burst back on the scene with another one-two knockout punch of a record and you should all be grateful that they did.

Following up a killer demo and 7", Olympia's WEIRD TV goes long(er) with six new songs that showcase strong musical development and renewed charisma, the kind of music that stares you down even from the comfort of your own home. In a refreshing role reversal, the men in the band are relegated to the rhythm section, while the women handle vocals and guitar, shredding as hard as the situations warrant. Lyrics are once again in Spanish, and the band's respect for and inspiration from Latino punk, particularly its history in Southern California, is vetted in full solely by way of deed. I got a test pressing, so no lyrics (or song titles, for that matter) are evident, but in the tradition of their previous single, Weird TV has a way of making your classic Pac-NW feminist punk sound more vicious and hectoring than almost anything else in the past 10-15 years, to the point where a few of these songs sound like a curse bestowed upon the unjust who happen to stumble upon this release - these people will make you pay.

Inspired by early explorations of extreme locations-and the clash between the will of humans, the limits of their bodies, and the immutable laws of the natural world-the latter which can easily destroy both of the first two-BLAKE EDWARDS' primary device is a Russian Polivoks synthesizer. The "11* 22.4'N 142* 35.5'E" side (based on the 1960 dive by Jacques Piccard and Don Walsh in the bathyscaphe Trieste to the Challenger Deep in the Mariana Trench, the deepest known point on earth) mirrors the combination of analytic scientific preparation and calibration that the team did, and the inherent and unavoidable human concern of dying should anything go wrong. The "HACE/26,250'" side (named after High Altitude Cerebral Edema, which has the greatest potential for striking in the Dead Zone [26,250 feet], where available oxygen cannot sustain human life for more than three hours) is a soundtrack for a body closing down; heart rate slowing, blood flow slowing, everything once moist and carrying life slowly becoming brittle, dry, and unable to function due to duress. Edition of 200 copies, packaged in tip-on jacket.

DAN MELCHIOR's (in collaboration with his wife LETHA RODMAN) latest called The Heron (Doesn't Care When the Woman Stamps Her Boot). Dan's music continues to evolve and is very much a separate entity from some of his earlier blues based work. While most people know Dan's garage work with Billy Childish, Holly Golightly and his own band Broke Revue, this record is certainly more on the experimental side of things in terms of sound. An edition of 231 copies;. We hand cut and constructed the inner sleeve, and attached a photograph that Dan took to it. Then a window was hand cut hand in the outer jacket to reveal/frame Dan's photo. The record centers are hand stamped (with an image based on a drawing of Dan's).

Daniel Higgs returns with his second full length recording for Holy Mountain after last year's critically acclaimed "Ancestral Songs" and his contribution. "Atomic Yggdrasil Tarot," to Thrill Jockey's series of books collecting art and music.


"Metempsychotic Melodies" continues to document Higgs' rise as a solo performer.

Raw picked banjo drones dominate "Metempsychic Melodies" as the instrumental "Universal Salutation" fades into the waking dream soliloquy of observation "Love Abides." "Leontocephaline Rhapsody" is a long waltzy drone with enough spooky atmosphere for one to think that it could have been recorded at Sunshine studios as there is a heavy Vogel vibe to the whole thing. Rumor has it engineer Tim Green told Higgs that he had to fade the track otherwise they were going to be arrested. Vocals return for the closing track "All Cherished

Things" an epic about change, sound and transformation.

Formerly operating under the name MITES, GRISHA SHAKHNES has been recording and performing in Tel Aviv since 2008, releasing work in private handmade CDR editions, and internationally though Alamut, Mystery Sea, and Copy For Your Records. Leave / Trace blends field recordings from peculiar and mundane origins into sumptuously detailed and surreally original new forms. Shakhnes captures and juxtaposes otherwise overlooked details of commonplace events, placing his work at the fulcrum of contemporary tape music.

As anyone familiar MORNING GLORY's album Poets Were My Heroes can attest to, MG has a remarkable ability to craft elaborate, emotive songs, forged from a punk rock nucleus. That unique quality is on full display with the release of Born To December. The A-side is a legendary journey that exemplifies the band's expansive songwriting skill set, while the 2 brand new tracks from the B-side are a bit more straight forward.

Listening to SHELLSHAG is like listening to a 15-year story of punk love and DIY tours, a sentiment that is summed up all over the Brooklyn-via-San Francisco's new record, Shellshag Forever. The album follows 2010's Rumors in Disguise-a record marked by huge hooks and a fuzzy balance of sweet and sludgy pop punk. That all surfaces Shellshag Forever, except that here SHELL and SHAG's songs sound clearer and more fully-formed than ever. "We'll raise a family, building lots of memories /and grow old together, what could be better?" asks the lead single, "Face to Face", an apt title for the sort of punk band who plays every show facing each other, with John Shell on guitar and Jen Shag standing playing drums, wearing a belt full of sleighbells for added percussion, singing both into a Y-shaped mic. "We'll keep playing shows from Brooklyn to ole 'Frisco / and grow old together, what could be better?" It's a song about Shellshag, about crisscrossing the country together since the '90s, about keeping punk dreams alive. Jen Shag and John Shell play seemingly bare-bones guitar-and-drunks pop-inflicted punk songs, but listen closely and the simplest of lyrics are embedded with meaning. "Sweet Hoodie" seems like a song about Shell's old sweatshirt but is actually the story of their entire relationship and the memories worn and torn into it; it's about meeting and being young, playing punk rock shows, about forgiving yourself and others, making mistakes, falling in love.

The A-side of this LP was originally released as a 3" CDR on the PsychForm Records label in 2006, the B-side is a new recording from 2012, both sides in the format of collaboration between JENNIE RICIHIE and IRR. APP (EXT). Wonderful surreal concrete assemblages. Rhythmic and spacey, and of course dada inspired weirdness. Cover art by MATT WALDRON. Packaged in a handmade euro-style top loading sleeve, in black metallic card stock with gold offset printing. Black with gold labels and black vinyl. Edition of 234.

With the influence of Terry Riley and Alice Coltrane already internalized, TOMOKO SAUVAGE's encounter with the jalatarangam (a traditional south Indian instrument-porcelain bowls filled with water tapped with bamboo sticks) brought her to the idea of recording with underwater microphones, and using simple electronics to weave an aquatic soundscape. Additional audio feedback from loudspeakers creates drones that sway with water waves. Uncontrollable elements such as sensitivity to room acoustics and irregularity of water movement play an important role in the unstable, fragile and site-specific nature of her music.

THE BLANK TAPES is now and always has been MATT ADAMS, a soft-spoken kid from a Southern California suburb who learned to play practically every instrument a good garage band needs, and then started making beautifully idiosyncratic records on his trusty home eight-track. By the time he left his home in Orange County for San Francisco in 2005, he'd put dozens if not a hundred of his own songs on tape, all lovingly and painstakingly and perfectly recorded in a series of ever more modest bedrooms and sheds. Following years of self-recorded album and EP releases, including work for venerable LA labels White Noise and Burger Records, relentless touring in the US, Japan, Europe & Brazil, Matt Adams and The Blank Tapes return with Vacation, the first ever full Blank Tapes album recorded outside of Adams' home studio. Full of the kind of three-part harmonies the Wilson Brothers used to love, Vacation has songs that transplant the style and sentiment of immortals like Ray Davies and Robyn Hitchcock ("Earring") or Kris Kristofferson and Terry Allen ("Working," "Vacation") or even Lou Reed ("Pearl," written about girlfriend and current Blank Tapes drummer PEARK CHARLES the night he met her) and Buddy Holly (the adorable bridge of "Coast to Coast") or even Os Mutantes on "Brazilia," a bossa-delic song inspired by Adams' informal park jam sessions on his Brazilian tour. Vacation is an everything-old-is-new-again album-a record chasing down timelessness in its own time. LP features a download with bonus tracks

Received a 7.7 rating from Pitchfork.

The second installment in the Ruthless Criticism of Everything Existing series, No Wising Up, No Settling Down focuses more on the personal and social aspects of philosophy and class conflict and abandons overtly political songwriting for a more subtle, honest, experimental and poetic approach. Although the album contains pop elements seen in the past few Sole releases, it also harkens back to his classic stream-of-consciousness poetry and noise styles.

Latest release from Brooklyn producer Michael Morrison!

Alchemist, Planet Asia, Killer Ben and Tristate have officially announced the formation of their supergroup Durag Dynasty ... Let's see what this is all about …

What could be better than a reissue of GROUPER's Dragging a Dead Deer Up a Hill? How about an entire album of unreleased material recorded at the same time that is equal in quality?

REISSUED!!! The third full-length release for Portland, Oregon-based LIZ HARRIS. Harris might have achieved a significant fan base thanks to the whispering, near-ambient vocal crusades of her debut album Way Their Crept and its follow-up Wide, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects. Dragging A Dead Deer Up A Hill marks a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else. It is an album steeped in the world of dream-pop and far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs. Using delicate song structures which are at once both familiar and somehow alien, her vocals cry out hauntingly over stripped-down guitar lines and looped environmental recordings. These are the future soundtracks to love, despair and ultimately, hope.

Second volume of our survey of the fascinating music variety of Puerto Rico during the 50s and 60s, which would lead the way to the subsequent salsa scene worldwide.

As well as bomba and plena, the main genres featured on volume one, the orchestras here display their masterful craft at playing guaracha, rumba, mambo, merengue and traditional rural music.

Extensive liner notes by compiler Yannis Ruel illustrated with original artwork and memorabilia.

The selection of this second ¡Saoco! expands its repertoire to emphasize the variety of rhythms and styles that characterized many of the groups included in the first volume.

It reveals a Puerto Rican production influenced by the sounds of Cuba and New York, but which also preserved its own character and in which the island genres of bomba, plena, and música campesina enjoyed their golden age.