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Chixdig­git! 2012


Septem­ber 16 – Canada’s fa­vorite pop-punk sons CHIXDIG­GIT! are back with their most mon­u­men­tal re­lease to date, 2012. The epic EP con­sists wholly of a 24 minute-long opus chron­i­cling ev­ery tour stop CHIXDIG­GIT! made through­out 2012. From Schiphol to Vic­to­ria, 2012 takes the lis­tener on a whirl­wind trip via their trade­mark up­beat, gui­tar driven sound, ad­dic­tive melodies, and KJ’s cheeky lyrics. The re­lease of 2012 co­in­cides with the band’s 25th anniversary, mark­ing two mo­men­tous ac­com­plish­ments that CHIXDIG­GIT! will be cel­e­brat­ing with a bar­rage of tour dates through­out the re­main­der of 2016.


DFA Au­gust 19 – Fac­tory Floor re­turn in 2016 with 25 25, their sec­ond al­bum and the fol­low up to their ac­claimed 2013 self-ti­tled de­but. With their mu­sic stripped to a mes­mer­iz­ing dance of per­cus­sion, frag­mented voice and melody, it cap­tures the next vi­tal stage in the evo­lu­tion of one of the UK’s most rest­less and ex­ploratory groups. A stark, ul­tra­min­i­mal­ist and eerily soul­ful dance­floor pulse, yet one that still bears Fac­tory Floor’s un­mis­tak­able hall­marks of hyp­notic rep­e­ti­tion and jagged, punk­ish in­ten­sity. The close friend­ships and col­lab­o­ra­tions they’ve es­tab­lished along the way at­test to those con­nec­tions, among them Chris Carter and Cosey Fanni Tutti (of Throb­bing Gris­tle/Chris & Cosey), Perc, Op­timo, New Or­der and Simon Fisher Turner. Mixed with ra­zor pre­ci­sion by David Wrench (FKA twigs, Cari­bou), the re­sults are all the more force­ful for that new­found space.

FALL “Grotesque (Af­ter the Gramme)”

SU­PE­RIOR VIADUCT Au­gust 26 – Su­pe­rior Viaduct presents Grotesque on vinyl! (First North Amer­i­can press­ing since its orig­i­nal re­lease in 1980 on Rough Trade!) The Fall’s Grotesque is the true pure­bred Fall re­lease from the Marc Ri­ley era. Re­leased in the im­me­di­ate wake of The Fall’s most beloved sin­gle “To­tally Wired”, the al­bum car­ries over that righ­teously famed teeth chat­ter­ing, bol­stered in no small part by the drum­ming of new ad­di­tion Paul Han­ley, brother of bassist Steve Han­ley and aged only 15 at the time of record­ing. Many sig­nif­i­cant firsts sur­round Grotesque, in­clud­ing The Fall’s in­au­gu­ral pro­duc­tion part­ner­ship with Mayo Thomp­son and the de­but of Suzanne Smith’s won­der­ful art­work, both of which would play key roles in the band’s fol­low­ing phase. Su­pe­rior Viaduct’s edi­tion is the first time that Grotesque has been avail­able on vinyl do­mes­ti­cally since its ini­tial re­lease in 1980.


BLOOD­SHOT Au­gust 19 – Real is one of those ex­cit­ing records where you sense an artist truly hit­ting their stride. Whether you’ve fol­lowed Ly­dia’s ca­reer for­ever, or you’re new to her game, Real is gonna grab your ears. On her first two Blood­shot full-length releases, there were fevered com­par­isons to ac­knowl­edged mu­sic icons like Loretta Lynn, Ste­vie Nicks, and the Re­place­ments... She’s half this, half that, one part some­thing else. But now, Real and Ly­dia Love­less are ref­er­ence points all their own: Genre-ag­nos­tic, Ly­dia and her road-tight­ened band stretch from soar­ing, sin­ga­long pop gems, roots around the edges, to proto-punk. Strug­gles be­tween bal­ance and out­burst, in­fec­tious cho­ruses fronting emo­tional tor­ment are sung with a sneer, a spit, or a ten­der­ness and open­ness that is both in­tensely per­sonal and re­lat­ably uni­ver­sal. It is, as the ti­tle sug­gests, real.

NEUROSIS “Fires Within Fires”

NEUROT Septem­ber 23 – Over the col­lec­tive’s past ten al­bums, Neurosis have in­vited lis­ten­ers to join them on the path their mu­sic carved. Go­ing beyond the re­mark­able, they be­came un­for­get­table. Through­out the last 30 years, the band has rel­ished the un­pre­dictable and em­braced the un­known pos­si­bil­ity of where the mu­sic was ca­pa­ble of tak­ing them. Neurosis takes their most dom­i­nant step yet with their eleventh full-length, Fires Within Fires. Three decades in the mak­ing, strik­ing their sig­na­ture bal­ance be­tween light and dark, beauty and re­pul­sion, this lat­est al­bum gives due to its pre­de­ces­sors while pro­gress­ing for­ward into the un­fa­mil­iar and for­mi­da­ble. Fea­tur­ing ex­quis­ite al­bum art and the stel­lar record­ing work of the group’s long­stand­ing en­gi­neer Steve Al­bini, Fires Within Fires is at once a beau­ti­ful and for­bid­ding work of mas­tery.

SCI­EN­TISTS “A Place Called Bad”

NUMERO Au­gust 19 – With a sound that was swampy, pri­mal and mod­ern-ur­ban all at once—as much in the tra­di­tion of rock n’ roll and punk rock as it was a re­jec­tion of those things, the Sci­en­tists’ for­mula was as uni­ver­sal as it was spe­cific to their own ex­pe­ri­ence. The themes of get­ting wasted, driv­ing around in hot­ted-up cars, be­ing trapped in crap jobs, and para­noia were their sub­ject mat­ter. Ma­chine throb bass and drums with jagged car-wreck gui­tars were their modus operandi. Fit­ting into no place or time they spurned all but the most rudi­men­tary and el­e­men­tal of rock struc­tures to cre­ate a sound all their own. “The Sci­en­tists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!” —Jon Spencer // “The Sci­en­tists proved to me that rock ‘n’ roll could be played by gen­tle­men in fine silk shirts half un­but­toned and still be dirty, cool and real.” — Thurston Moore

SONIC YOUTH “Con­fu­sion Is Sex”

GOOFIN’ Septem­ber 23 – Sonic Youth’s first full-length al­bum, one of Thurston Moore’s fa­vorites! “a brain-blud­geon­ing, com­pletely fried en­deavor of dis­so­nance and dis­ar­ray, a per­fect sound­track for run­ning from a chain-wield­ing gang near the SIN Club. This was the sound of 1983 New York City: noth­ing like London where punks were start­ing to scrub their faces and sounds to get on Top of the Pops, and noth­ing like the jan­gly roots of col­lege ra­dio rock start­ing to for­mu­late in Athens, Ge­or­gia. It sounded like no one else on Earth, for that mat­ter. The raw, Whar­ton Tiers 8-track pro­duc­tion is dark, the Kim Gor­don-scrawled cover fig­ure art of Thurston Moore is dark, Lee Re­naldo’s back cover photo-col­lage and Cather­ine Ceresole’s crum­pledxe­roxed im­ages that adorned the in­side are dark. It’s an al­bum that moves Sonic Youth for­ward from their first EP al­most by de­volv­ing back­wards into true ugly, lo-fi prim­i­tiv­ity. The bare­boned ar­se­nal of junkpile gui­tars and im­ple­men­ta­tion of al­ter­nate tun­ings was grow­ing, and so were the songs that matched the in­di­vid­ual at­tributes of each in­stru­ment: cer­tain ones groan and growl a spe­cific way that the band started to re­al­ize it­self could be­come the com­po­si­tional germ of a song. Herein is the thresh­old of a new ex­plo­sion of the band’s cre­ativ­ity , re­plac­ing the com­par­a­tively cleaner buzz of the Sonic Youth EP with gui­tars that spew frac­tured, uglier chunks of sound ev­ery­where, held down by men­ac­ing min­i­mal­ist basslines and the bru­tal-yet-con­trolled metro­nomic drum­ming" - Brian Turner, WFMU.

SUBROSA For This We Fought The Bat­tle Of Ages

PRO­FOUND LORE Au­gust 26 – Salt Lake City doom/cham­ber-metal won­der SUBROSA, over the last sev­eral years have been rec­og­nized as one of Amer­ica’s most sin­gu­lar and im­por­tant bands within the doom metal genre. Their 2013 break­through al­bum, “More Con­stant Than The Gods” saw the five-piece (in which two mem­bers paly the elec­tric vi­o­lin) gain ac­claim all across the board. “More Con­stant Than The Gods” also saw the band be­come more ac­tive on the live cir­cuit, tour­ing and play­ing with bands such as Boris, Deafheaven, and Cult Of Luna. With the re­lease of their new al­bum “For This We Fought The Bat­tle Of Ages”, SUBROSA have cre­ated their most tri­umphant and big­gest al­bum to date.


MERGE Septem­ber 9 – The wait is over! On Septem­ber 9, Teenage Fanclub re­turn with Here, the band’s first al­bum in six years. As ever, song-wise the Fanclub present a text­book rep­re­sen­ta­tion of democ­racy in ac­tion, the record of­fer­ing four each by Nor­man Blake, Gerard Love, and Ray­mond McGin­ley. From the almighty chime of opener “I’m In Love” through the ec­static soul-search of “The First Sight” and the paean to unerring friend­ship “With You,” Here is a col­lec­tion of twelve songs about the only things that truly mat­ter: life and love. As is be­fit­ting of a record that took its time to ar­rive, Here uses re­flec­tive space to daz­zling ef­fect. Not for one sec­ond is Here the sound of pro­cras­ti­na­tion or head­scratch­ing. It’s the ef­fort­less work of a band en­tirely con­fi­dent in their own craft—the con­sol­i­da­tion of nearly three decades of peer­less song­writ­ing and al­most tele­pathic mu­si­cian­ship.

V/A “Af­ter­school Spe­cial: The 1, 2, 3s of Kid Soul”

NUMERO Septem­ber 16 – The for­mula was sim­ple: marry bub­blegum and soul to the ab­so­lute sin­cer­ity of an en­thu­si­as­tic child, cross your fin­gers and pray for air­play. But while the youth­ful sums of that for­mula may have grown up and walked away from their il­lu­sions of star­dom, their per­ma­nent records re­main. By 1973, The Jack­son 5 were as hip as kids could get—house­hold names, with lunch­boxes, col­or­ing books, a Satur­day morn­ing car­toon, and an Al­pha-Bits ce­real com­mer­cial push­ing the J5 brand onto any kid with tele­vi­sion re­cep­tion. This ex­treme mar­ket­ing and mer­chan­dis­ing jug­ger­naut cre­ated the kid soul ex­plo­sion. A decade re­moved from our ac­claimed Home Schooled com­pi­la­tion comes a fresh batch of tal­ent show ti­tans. With en­ter­pris­ing par­ents, neigh­bors, and teach­ers turn­ing play dates into record­ing dates, groups like Mag­i­cal Con­nec­tion, Lit­tle Man and the In­quires, and Five Ounces of Soul em­u­lated the Jack­sons, who’d made grade-school star­dom ap­pear easy as ABC. Af­ter­school Spe­cial: The 123s Of Kid Soul con­tains 19 tiny tunes rang­ing from bilin­gual D.A.R.E. an­them, to James Brown bio, to young love and life beyond the play­ground.

X-RAY SPEX “Germfree Ado­les­cents / (Vinyl Reis­sue)”


Septem­ber 9 – Lim­ited shock­ing-pink vinyl edi­tion! Real Gone Mu­sic is proud to present Germfree Ado­les­cents (1978) , one of the sig­na­ture al­bums of the early Bri­tish punk move­ment, in the for­mat and color it be­longs. The one and only LP re­lease from X-Ray Spex and its ir­re­press­ible front­woman Poly Styrene has been deemed by ev­ery­body from Greil Mar­cus to Robert Christ­gau to Spin to Mojo as one of the great­est punk al­bums ever made, yet, some­how, this is its first vinyl reis­sue!.. And we’ve done it right; be­sides the col­ored vinyl, we’ve re­pro­duced the in­ner lyric sheet, where you can read Poly’s bril­liant ob­ser­va­tions about the plas­tic, cor­po­rate na­ture of mod­ern so­ci­ety. All of which she sings in a pas­sion­ate yowl all her own (with Lora Logic among oth­ers back­ing on sax­o­phone); this is not only one of the most pen­e­trat­ingly ob­ser­vant punk records, it’s also one of the most pas­sion­ate, and, sur­pris­ingly enough, catchy. if it’s hooks you’re af­ter; if it’s right­eous anger and a noisy racket you’re seek­ing, ev­ery track will do ya.

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