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For Fans Of: '60s Garage Rock, British Invasion,The Sonics, The Ramones, The Fleshtones, Black Keys,  Kim Fowley, and Little Steven's Underground Garage.

'Possibly The Best Live Group Now - Powerpopaction.Com

'Yeah Yeah Yeah!' - Little Steven

'The 64 Beatles Meets The Ramones" - Kim Fowley

Dirty Water Records presents 'Dial M For Muck', the latest release from Muck & The Mires. Boston's International ambassadors of garage rock'n'roll have once again teamed up with JIM DIAMOND (White Stripes) and KIM FOWLEY for an explosive 12-song scorcher of an album. FOWLEY, best known as the genius behind the legendary all-female rock band The Runaways, describes the band as a cross between the 1964 BEATLES and the 1977 RAMONES. On 'DIAL M...', Muck and the Mires expand these influences to include hints of '60s BUBBLEGUM, '70s POWER-POP and even A LITTLE BIT O'SOUL! Muck and the Mires have built a worldwide following through relentless touring, radio and satellite airplay and a string of recordings considered by many to be cult classics. Their British Invasion-style songs are all two minutes long and all potential hits; their live show is a high energy blast of fast-paced, post-punk, gritty garage rock and roll.

Formed in 2000, Muck And The Mires are the first group to ever have a 'Best Of' collection released before ever playing a note together; (All Mucked Up -The Best of Muck and the Mires). In reality, these raw recordings were home demos created by Muck (Evan Shore formerly of The Queers and The Voodoo Dolls) issued on CD in Canada on Amp Records and subsequently on vinyl by SOUNDFLAT RECORDS of Germany.

Following the immediate success of this album, Muck assembled the real-life Muck and the Mires whose current line-up features original drummer JESSIE BEST, long-time bassist John Quincy Mire, and the recent return of founding lead guitarist Pedro Mire. Some career highlights include: Featured on MTV as the winners of LITTLE STEVEN VAN ZANDT'S (E-Street band/Underground Garage) national battle of the garage bands contest.

Toured Europe and quickly built a large following both home and abroad thanks to strong airplay and worldwide live appearances with NY Dolls, Dictators, MC5, Dick Dale, Kaiser Chiefs, Pete Best, Ray Davies, Supersuckers and many more. 'Caught In A Lie' appeared in the HISTORY CHANNEL'S film 'Vietnam in HD' and is featured on the album '1-2-3-4' released jointly on DIONYSUS RECORDS (Burbank, California) and Soundflat Records (Germany). '1-2-3-4' received a 4-star rating from England's prestigious Uncut Magazine, prompting their first UK tour. In Liverpool, they headlined the famous Cavern Club and caught the attention of EX-BEATLES MANAGER Allan Williams.

It should be noted that, despite their offer to employee him, 'The man who gave away the Beatles' also turned down Muck and the Mires. Kim Fowley produced the groups 2009 release 'Hypnotic', their first full-length for London's DIRTY WATER RECORDS, where the group has set up shop ever since. 2011's 'A Cellarful of Muck' proved to be the group's biggest album to date, even scoring record of the month on Spanish National Radio.

Tracks :
1. Three Steps Closer
2. Don't Write Her Off
3. Cheating Yourself
4. Someday I'll Get My Way
5. You Can't Run Away From Love
6. Double White Line
7. Candy Apple Red
8. Whenever She's Around
9. Kara Lee
10. Love Is Gonna Let You Down
11. Bad Omen
12. Pocket Change

In early 2003, a young writer/director contacted Explosions In The Sky requesting permission to use one of their songs in his second film, All the Real Girls. The filmmaker was Texas native David Gordon Green, and their music was a perfect companion to the elegiac score from fellow Texas composer, David Wingo. That would be the first-ever film license for Explosions In The Sky.

Fast-forward a decade: the band's music has become an integral part of countless film and television programs (most notably Friday Night Lights and The Diving Bell and the Butterfly); Green is an internationally renowned, impressively eclectic filmmaker (Pineapple Express, Snow Angels); and Wingo is a highly acclaimed film composer (Mud, Take Shelter) and leader of acclaimed indie-rock group, Ola Podrida. They've all become very close friends, and that tight-knit friendship spawned Green's stirring new film, Prince Avalanche. While watching the Super Bowl together, EITS drummer Chris Hrasky casually suggested that Green use the scorched landscape of Bastrop State Park in Bastrop, TX as the backdrop for a film.

Green took the suggestion and ran with it, remaking the Icelandic indie comedy Either Way into an understated dramatic comedy starring Paul Rudd and Emile Hirsch. In keeping with the low-key, under-the-Hollywood-radar nature of the film, Green tapped Explosions In The Sky and David Wingo to score the film. In the spirit of the filmmaking process, the soundtrack to Prince Avalanche is a casual affair, an earnest collaboration amongst friends recorded entirely in the living rooms of its composers.

Much like the film, the soundtrack stitches dozens of tiny moments of heartfelt brilliance into an emotionally resonant whole far more expansive than its intimate roots might imply. Explosions In The Sky excel at making even the most mundane moments in everyday life seem downright revelatory. David Wingo and David Gordon Green have made careers out of pulling off similar feats in film. It was only a matter of time before these guys all collaborated, and Prince Avalanche delivers on the inspired expectations of such a union.

Tracklisting :
1. Fires
2. Theme From Prince Avalanche
3. Dear Madison
4. Passing Time
5. Rain
6. Alone Time
7. Hello, Is This Your House?
8. Can't We Just Listen To The Silence
9. Wading
10. Dear Alvin
11. The Lines On The Road That Lead You Back Home
12. An Old Peasant Like Me
13. Join Me On My Avalanche
14. The Adventures Of Alvin and Lance
15. Send Off

Super deluxe In the four years since the release of Explosions In The Sky's previous album, All of a Sudden I Miss Everyone, they've amassed a steady stream of unlikely achievements for a band most known for stirring instrumentals that often push the 10 minute mark.

They toured with The Flaming Lips, headlined a sold-out Central Park concert, performed on the legendary Austin City Limits television program, and curated the world-renowned ATP Festival - all with the humble resolve of a band who still hauls all of their own gear on and off the stage every night. And let's not forget their indelible impact on the cultural landscape of film and television since their breakthrough score for Friday Night Lights marked an aesthetic shift towards evocative, real-life grittiness in mainstream cinema.

On their fifth album, Take Care, Take Care, Take Care, the band take some of their greatest creative leaps yet, experimenting with layers of haunting, unplaceable sounds, euphoric vocals, classical guitar, body percussion, Japanese singing bowls and more. With solitary focus and collaborative vision, each instrument clearly exudes the spirit and inspiration of its player, squeezing more expression and lyricism out of guitars and drums than most singers could ever conjure with their voices.

Take Care, Take Care, Take Care is Explosions In The Sky's most texturally diverse and emotionally dynamic album yet, and certainly their most masterfully crafted. It emanates a subtle humanity and disarming comfort that marries youthful idealism with intangible magic. It is perhaps the most emotionally arresting album by a band responsible for some of the most emotionally arresting music of the past decade.

Tracklisting :
1. Last Known Surroundings
2. Human Qualities
3. Trembling Hands
4. Be Comfortable, Creature
5. Postcard From 1952
6. Let Me Back In

Picking up where Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever left off, The Earth Is Not a Cold Dead Place begins as a flickering twinkle that soon grows to a blinding light.

This new sense of hope is the defining characteristic of this record, and ultimately the journey that their music takes us on. Immeasurably more dramatic and dynamic than their last album, The Earth Is Not a Cold Dead Place takes its shape not in the unexpected cacophony that had become the band's trademark, but in the infinitely deeper caverns of the human soul.

With a soft heartbeat-like thump that grows stronger by the minute, the band is now closer than ever to replicating the simple movements that, when strung together, form the unpredictably complex machine that is the human body.

Words simply cannot do this the justice that it deserves. It goes so far beyond elementary comparisons to other bands. The answer is somewhere between your head and your heart, and indeed, that is not a cold dead place.

The members of Explosions in the Sky may just be four soft-spoken guys from Texas, but on Those Who Tell the Truth...they simply tear everything apart. Combining influences from classic rock to metal to goth, the band creates instrumental soundscapes that can turn from all-out destruction to heartfelt, dreamy melodies in the blink of an eye.

The result is similar to Mogwai and Godspeed a musical journey that leads listeners through the entire range of emotion without even needing words. "Greet Death" matches a crunchy Dinosaur Jr hook with warm Cure ssque bass grooves. "Moon Down" chimes and twists through ten minutes of calm night, leaving the listener with the feeling that something awesome is sure to happen.

On "Have You Passed Through This Night?" one of the members of Explosions in the Sky ponders in a near-whispering Texas drawl the meaning of the world. What follows is like the climax of a tense, mind-blowing movie, driven by relentless guitars and a thundering Master of puppets ers Metallica drum march. "Poor Man's Memory" follows, offering some consolation in a sentimental melody.

The album ends with the grand, 12-minute-long "With Tired Eyes, Tired Minds, Tired Souls, We Slept," a song that moves fromSonic youth to Joy division to Explosions in the Sky.

Containing the very first transmitions from Explosions In The Sky to the world, the songs on How Strange Innocence were freshly written painstakingly rehearsed, and anxiously put to tape during a whirlwind two-day recording session with Stephen T. Hall (Sixteen Deluxe) at The Bubble in Austin, TX. But the group evolved quickly, and recorded what would be their breakthrough, the stunning Those Who Tell The Truth Shall Die, Those Who Tell The Truth Shall Live Forever, less than one year later.

How Strange Innocence was pushed aside in favor of the more accomplished Those Who Tell The Truth as the band's introduction to the rest of the world, seeing no official release beyond 300 CDRs the band produced to sell on the road.

Original CDRs fetch over $200 on eBay, the scarce vinyl version nearing $500!
This phenomenon was disconcerting to the band and their growing number of fans, which makes us all the more proud to announce this official How Strange Innocence reissue, beautifully remastered with all new artwork.

Release date: 08/12/2014

Decadubs 5'is a vinyl-only double-pack companion to Hyperdub 10.4', the fourth and final CD in Hyperdub's series of collections throughout 2014 to mark the label's first decade in existence. Both Decadubs 5'and its full-length parental set explore the club spaces opened up by house, garage and techno, as viewed through Hyperdub's singular filters.

Side 1 leads out with Lambeth', a long awaited previously unreleased track by Burial, with an unusually triumphant and - compared to recent extended montages - relatively direct 2step feel.

This is followed by the low slung tech-garage of Kode9's Oh', while on the flip the whole of Side 2 is given over to the lush deep house of Cooly G's 'Love Again'.

Side 3 opens with the fathoms-deep bubbling bass and synth washes of DVA's extremely psychedelic Monophonic Nightmare', then Dorian Concept turns in a quirky remix of Martyn's classic Mega Drive Generation', which originally appeared on Hyperdub's fifth anniversary compilation in 2009.

Side 4 reveals another classic from the vaults in the shape of Cooly G's skeletal house cut Him Da Biz', and the EP comes to a close with energy levels turned up on Funkystepz's Vice Versa', a track much in demand since it first appeared on Kode9's Rinse 22'mix compilation from 2013.

Side A:
1. Burial - Lambeth 
2. Kode9 - Oh 

Side B:
3. Cooly G - Love Again

Side C:
4. DVA - Monophonic Nightmare
5. Martyn - Mega Drive Generation (Dorian Concept Remix)

Side D:
6. Cooly G - Him Da Biz
27 Funkystepz - Vice Versa

Phil Julian is a UK based sound artist, composer and improviser active since the late 1990 - ²s, with a prolific output under the Cheapmachines alias and his own name.

His work has been released on a catalogue of imprints and encompasses sonic textures ranging from harsh squalls of noise to compositions structured around hyper-minimalistic timbres and drones. Studio recordings and live performances within Europe and North America have focused on the use of electronics, particularly unstable and/or chaotic systems e.g. modular synthesisers, feedback, contact microphones, objects and surfaces and computer based works.

'TRACE' was recorded at Stockholm's EMS Elektronmusikstudion during Julian's Guest Composer residency in 2013. Using a combination of the vintage analogue equipment at EMS and various computer processes, the material on 'TRACE' was recorded and mixed specifically for diffusion over the Audiorama 17.4 surround sound system, custom built and installed inside the decommissioned torpedo workshop on Skeppsholmen island in Stockholm. 'Open Form' which takes up the A side of the release is made up of much shorter pieces recorded over the two week residency. 'Corona' is an improvised piece using analogue electronics only and 'Arrival' uses a custom computer patch alongside a complex set of processes running on the huge EMS Buchla synthesiser.

The recordings combine the dynamics and space associated with modern composition and electroacoustic works with the density and abrasive qualities more often encountered in noise and contemporary computer music.

Prog-influenced Nottingham quintet The Chemistry Experiment are set to release their second album, the intriguingly titled 'Gongs Played By Voice', through Fortuna POP! in January, some ten years after the release of their debut album 'The Melancholy Death Of - ¦'. Housed in beautiful artwork by the Bulgarian artist Gyukov, a set designer in communist Bulgaria, the new album sees the band conclude the transition from their indie roots with nine beautifully arranged and recorded songs that encompass such influences as Will Oldham/Bonnie Prince Billy, Tindersticks, King Crimson and Soft Machine.

Formed by songwriter Steven J. Kirk (vocals, guitar) and Paul Stone (bass) and completed by Emily Kawasaki (keyboards), Lee Tombs (flute, vocals) and Martin Craig (drums), two of the band have long since departed from their Nottingham origins with Kirk now resident in Bologna, Italy and Kawasaki living in Brighton where she plays in krautrock grrrlgruppe Slum Of Legs. The release of 'The Melancholy Death Of - ¦' in 2005 saw critical if not financial success with the NME awarding the record 8/10 and describing it as 'Strange, gargantuan rhythms, weird instrumentation and a singer who sounds like Kurt Wagner under ten feet of snow'.

If the geographic dispersion of the band wasn't challenging enough, in 2009 drummer Craig was diagnosed with MS. 'It has made drumming somewhat tricky', he says.'I still gnash my teeth to the rhythm of the music though, and I feel honoured to join the company of Ronnie Lane, Clive Burr, and Don van Vliet.' All of which may go some way to explaining the My Bloody Valentine-like gestation of their second album, although Tombs posits a more positive explanation, saying, ' Difficult second albums'are difficult because people spend 5-10 years gathering up what they need for the first, and then have to knock out the next one in a matter of months. We overcame that problem by taking ten years.'

Loosely based around the theme of seasons, elements and the sea, the album opens with the wondrous 'Hung Lam', followed by the track 'Rainy Day', on which Stone employed the little known technique of water percussion. 'Martin and I started swirling water in saucepans and tapping the edge of the pan to make the woooo noise. I'd heard something similar on an Edith Piaf record'.

The fantastically catchy 'Leo & Magician' has an even more fantastical plot. 'It's about a scarecrow who runs away from his farm, leaving the farmer (Leo) without a way to protect his crops from the birds,' says Kirk. 'Luckily Leo's friend Magician comes along, and although he can't help him with the scarecrow due to union rules, he turns Leo into a cat to scare away the birds, and that is why birds to this day are scared of cats. The scarecrow also abducts Leo's wife but I didn't want to go into that in the song.'

Other songs include the beautiful 'We Have Seasons', 'Jandek Bakery', 'The Event and the Experiment' ('It's kinda the same story as Valis by Phillip K Dick') and a cover of Leonard Cohen's 'Story of Isaac', but perhaps the standout track on the album is 'Channel Light Vessel' which Kirk describes as the best song he ever wrote and says, 'This is about the sea, and sailors, and a boy I read about on BBC news who impaled himself on a fence trying to pick conkers.'

The album concludes with the nine minute long 'A Good Wind', describing a windy day on the coast of Australia and the classic battle between good and evil, nature and synthetic, human and vocoder. Like many things about The Chemistry Experiment it's unique, slightly odd, and shouldn't really work but somehow does. In the ten years since their last record a thousand faceless indie bands have made a thousand dreary records, while The Chemistry Experiment have ploughed their idiosyncratic furrow to produce 'Gongs Played By Voices', the perfect distillation of their strange and distinct vision.

Tracklisting:
1. Hung Lam
2. Rainy Day
3. Leo & Magician
4. We Have Seasons
5. Jandek Bakery
6. The Event And The Xperiment
7. Story of Isaac
8.Channel Light Vessel
9. A Good Wind

Re-press of Enter includes gatefold jacket with download card, and first time available to retail via Sargent House.

Russian Circles have sold over 80,000 albums worldwide to date.

Russian Circles was formed in Chicago in 2004 by guitarist Mike Sullivan and drummer Dave Turncrantz.

The trio's 2006 debut, Enter, quickly established the band amongst heavy instrumentalist peers. With the addition of former Botch and These Arms Are Snakes bassist Brian Cook on their second album Station, Russian Circles solidified its lineup.

To date the band has released 5 critically-praised albums and continues to headline tours worldwide. In celebration of the band's 10th anniversary, Sargent House is proud to announce a re-issue of the band's critically acclaimed debut full length, 2006's Enter.

Recorded over the course of five quick days in 2006 with Greg Norman (Guided By Voices, Pelican, Neurosis) at the renowned Electrical Audio Studios in Chicago, Enter contains only six tracks, but they pack a lot into them -- the album clocks in at 44 minutes.

Each song flows into the next as if the record were one single composition in six movements.

Tracklisting:
1. Carpe
2. Micah
3. Death Rides A Horse
4. Enter
5. You Already Did
6. New Macabre

Nestled beneath the balmy breezes and palm trees of Tampa Bay, Florida, lies the most extensive and far-reaching death metal music scene in North America, and possibly the world. It was there in 1986 that the band Brutality came together in their first incarnation.

Featuring Jay Fernandez (Guitar), Jeff Acres (Bass/Vocals), Don Gates (Guitar), and Jim Coker (Drums), the quartet would comprise the classic Brutality lineup for many years. In 1992, as the band recorded their debut album, Screams of Anguish, vocalist Scott Riegel was also added, and helped shape Brutality's signature dual-vocal sound. With Screams Of Anguish's release in 1993, later followed by 1995's When The Sky Turns Black, Brutality became celebrated and acclaimed among the extreme metal scene, and toured alongside legends of the genre such as Bolt Thrower and Cemetery.

A year later, in 1996, Brutality released their third album In Mourning, which was well-received by fans, but was criticized for having a cleaner sound than their first two releases. The band believed their label Nuclear Blast was not properly promoting the album, which coupled alongside internal tensions and other factors would signal an end to the group. The group's classic lineup had already been shifted multiple times, with only Acres and Riegel as constants, and so after their final show at the 1997 Milwaukee Metal Fest, Brutality announced their intention to disband. Individual members of the group would reunite for various performances, but a legitimate reunion of the full group was always just talked about.

15 years passed when the original lineup of Acres, Fernandez, Gates, and Riegel would rejoin for a 20th anniversary show in their home of Tampa Bay. The show was incredibly well-received among the metal community, and alongside new interest via social media and the internet, the decision was made to record new material with the classic lineup. (Coker would rejoin soon after the 20th anniversary show.) In 2013, after touring and performing alongside contemporary peers like Deicide, Dying Fetus, and Exhumed, the EP Ruins of Humans was released to massive critical and fan acclaim.

The new demand for their material would also lead the group to reissue Screams of Anguish and When The Sky Turns Black on CD and vinyl. Now in 2014, Brutality are currently working on a new studio release, with new fans and success driving them. In leading up to the new album's release, and as a look back on over 15 years of death metal savagery, Ceremonial Records is proud to release Orchestrated Devestation, a compilation of Brutality's greatest tracks, taken from their 3 studio releases as well as various demos and EPs, bundled alongside vast retrospective liner notes and band photos.

CD Tracklisting :
1. Cryptorium
2. These Walls Shall Be Your Grave
3. When The Sky Turns Black
4. In Mourning
5. Crushed
6. Artistic Butchery
7. The Past
8. Ceremonial Unearthing
9. Screams Of Anguish
10. Subjected To Torture
11. Cries Of The Forsaken
12. Shrine Of The Master
13. Irreversibly Broken

Mr. Mitch is one of a group of producers who have re-envisioned Grime in the last few years, infecting the scene with a progressive and often surprising energy.

He's 26 years old and started his own Gobstopper label back in 2010 after having his debut release on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime " - ¦has always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new". And so this four tracker, which drops before his debut album 'Parallel Memories', is a short but brilliant showcase of his delicate use of Grime's speed and sound and his ability to take it somewhere else.

The record starts with Boxed anthem 'Don't Leave' which chops and screws a repeated acapella, with spaced drum hits and light drizzly chords. It sounds extra sad and emotionally desolate, but within the Grime grid, it still feels tough. 'Be Somebody' elevates the mood, breathing in some much needed sunlight with a graceful twinkling melody and a hopeful but shy vocal refrain which complement each other perfectly over snapping claps and snares, all pivoting on a heavy sub bass.

'Padded' builds incredibly slowly, a tender melody snaking out across a simple kick and some exhausted sounding hand claps. The melody builds very gently and the track peaks midway with a contrasting noise that seems to shatter the track apart. 'Oh' finishes the EP, mixing slower criss-crossing drums with gently warping vocals that drift in and out of the mix while a soft marimba runs underneath.This is music that deserves to find a likeminded audience, progressive and not afraid of emotional depth.

Side A:
1. Don't Leave
2. Be Somebody

Side B:
3. Padded
4. Oh