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viewing 1 To 7 of 7 items
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CD
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IMP 070CD
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"If you've not witnessed CUT storming on stage in the last 25 years I'm not sure you've witnessed rock n' roll in its purest form, an onslaught of concrete punk, garage belters and the necessary dose of sleaze and bravado when the song calls for it. Two guitars, one drum kit, that's been their formula forever, low-end/high-end, angular, in-yer-face on paper but subtle in execution, confrontational at first but with a heart that looms large, soulful yet fierce. Dead City Nights is no exception and maybe marks their highest achievement, chock-full of signature bangers and the usual dose of irony. Carlo, Ferruccio, and Tony are back it, move out of their way! The opening verse of 'Mr. Spaceman', taken from the Byrds' Fifth Dimension, describes very well the predominant mood among us during the last two/three years, the time period in which the Dead City Nights songs were born. Now 16 years ago (OMG!), in a song called 'Nightride' we sang 'the city is our playground at night' -- and instead while writing these 13 songs we saw our cities shut down, becoming ghost towns just to quote the Specials . . . Dead City Nights is our seventh album: unlike Second Skin -- its predecessor, which saw the participation of many friends and guests -- it is a record made by the three of us only with some intervention by our producer Bruno Germano to enrich some of the arrangements. Even though we loved and still love Second Skin and the sessions that led to its creation, for this album we wanted to go back to the way of working that has always characterized us: the three of us alone, in the rehearsal room, arguing about every single riff and drum groove until we reach a result that satisfied us all. After all, the events we were talking about above would not allow us to work differently, even if we wanted to. The big difference compared to almost everything else in our discography is that -- inevitably -- we haven't been able to break in the songs live, as we usually do before entering the studio . . . Dead City Nights is also our first album with Antonio 'Tony Booza' on drums (The Titbits, The Boozers, The Narcotics): once again, welcome home Tony!" Ferruccio Quercetti, December 2022
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IMP 111LP
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Remastered in 2023. For the first time on vinyl since its release in 1997, a classic of the classics where the Supersuckers lead the way and go cowpunk releasing an Americana classic. Featuring guest appearances from none other than Willie Nelson and Kelley Deal. Bouncing back from the setback of Sacrilecious, the Supersuckers recorded their most ambitious album with Must've Been High. Using their garagey, post-hardcore punk as a launching pad, they delve deeply into country, even recording with Willie Nelson on one cut.
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IMP 110LP
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Originally released in 1997. Remastered and for the first time on vinyl, this incredible 12" EP where country legend Steve Earle teams up with the Supersuckers. The Supersuckers tackle an Earle song ("Angel Is the Devil") and Earle covers one of their tunes ("Creepy Jackalope Eye"), then after a joint cover (the Rolling Stones' "Before They Make Me Run," the definitive Keith Richards anthem), the originals are offered up.
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IMP 140LP
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Garage cult legend Leighton Koizumi brings out his best on this essential LP. Reissued on vinyl for the first time since 2006 in partnership with Go Down Records and Improved Sequence. Easy Listening For The Underachiever, recorded in LA in 2006 and released in 2008, is by far the most popular Morlocks LP. With cross-over hits "Dirty Red," "Till The Wheels Fall Off" (featured on various TV, movie, video games) plus fan favorites like "My Friend the Bird" and "Teenage Head."
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IMP 141LP
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Improved Sequence is proud to reissue The Morlocks' 2010 record paying homage to the roots of the Chicago Sound, namely the legendary Chess Records. That very music inspired the whole garage scene and The Morlocks are among its most famous and important exponents. Here is a playlist of iconic tracks that the band relives as part of their DNA!
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IMP 070LP
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LP version. "If you've not witnessed CUT storming on stage in the last 25 years I'm not sure you've witnessed rock n' roll in its purest form, an onslaught of concrete punk, garage belters and the necessary dose of sleaze and bravado when the song calls for it. Two guitars, one drum kit, that's been their formula forever, low-end/high-end, angular, in-yer-face on paper but subtle in execution, confrontational at first but with a heart that looms large, soulful yet fierce. Dead City Nights is no exception and maybe marks their highest achievement, chock-full of signature bangers and the usual dose of irony. Carlo, Ferruccio, and Tony are back it, move out of their way! The opening verse of 'Mr. Spaceman', taken from the Byrds' Fifth Dimension, describes very well the predominant mood among us during the last two/three years, the time period in which the Dead City Nights songs were born. Now 16 years ago (OMG!), in a song called 'Nightride' we sang 'the city is our playground at night' -- and instead while writing these 13 songs we saw our cities shut down, becoming ghost towns just to quote the Specials . . . Dead City Nights is our seventh album: unlike Second Skin -- its predecessor, which saw the participation of many friends and guests -- it is a record made by the three of us only with some intervention by our producer Bruno Germano to enrich some of the arrangements. Even though we loved and still love Second Skin and the sessions that led to its creation, for this album we wanted to go back to the way of working that has always characterized us: the three of us alone, in the rehearsal room, arguing about every single riff and drum groove until we reach a result that satisfied us all. After all, the events we were talking about above would not allow us to work differently, even if we wanted to. The big difference compared to almost everything else in our discography is that -- inevitably -- we haven't been able to break in the songs live, as we usually do before entering the studio . . . Dead City Nights is also our first album with Antonio 'Tony Booza' on drums (The Titbits, The Boozers, The Narcotics): once again, welcome home Tony!" Ferruccio Quercetti, December 2022
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IMP 077LP
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Crunt began in 1993 as a kind of indie rock supergroup and had their 1994 debut album touted by Pearl Jam's Eddie Vedder. Crunt's members included guitarist/vocalist Stuart Gray (aka Stu Spasm) and bassist/vocalist Kat Bjelland. Gray was well-known in Australia by the start of Crunt for his past involvement in the bands Salamander Jim and the horn/guitar punk rock of Lubricated Goat, which included drummer Martin Bland who went on to play in the Monkeywrench. As for Bjelland, she was the frontwoman/guitarist for the Minnesota-based Babes in Toyland. Crunt was rounded out by drummer Russell Simins, who was the full-time sticksman for New York City's Jon Spencer Blues Explosion. Each of Crunt's members were temporarily residing in Seattle when Gray conjured up the idea of starting a new group. After writing almost a dozen songs, the trio entered Seattle's Ranch studio in February of 1993 with Simins and Gray acting as the producers, and their friend John Dunleavy -- known for his work with the Supersuckers -- filling the role of engineer. A year passed before the group's self-titled album was released on February 15, 1994, on Austin, TX label Trance Syndicate, owned by Butthole Surfers' drummer King Coffey. The record was the imprint's first release from a non-Texas group. The debut of the full-length album coincided with the Swine/Sexy single on Australia's Insipid label, which was known for releasing singles by other bands such as the Cows, Urge Overkill, and the Jesus Lizard. Prior to the releases, there had been talk that the band was not going to just be a side project, but a full-time band in the same tradition as Babes in Toyland and the Blues Explosion. The trio had even planned a full-scale tour. By January of 1995, however, Crunt came to an end.
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