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LP
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TMR 934LP
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$26.00
PREORDER
RELEASE DATE: 10/23/2023
"History has shown that the greatest bands -- bands with that certain, ever elusive quality called lasting power -- neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band's new stand-alone single, All Lined Up, comes alongside the announcement of their signing to Third Man Records -- their first partnership with a larger independent label -- who will also be physically and digitally re-releasing the entirety of Sheer Mag's back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag's sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag's oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010s underground, time has attested to Sheer Mag's singular cultural mutability: though never straying too far from their home-town Philadelphian origins."
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LP
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TMR 933LP
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$26.00
PREORDER
RELEASE DATE: 10/23/2023
"History has shown that the greatest bands -- bands with that certain, ever elusive quality called lasting power -- neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band's new stand-alone single, All Lined Up, comes alongside the announcement of their signing to Third Man Records -- their first partnership with a larger independent label -- who will also be physically and digitally re-releasing the entirety of Sheer Mag's back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag's sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag's oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010s underground, time has attested to Sheer Mag's singular cultural mutability: though never straying too far from their home-town Philadelphian origins."
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2LP
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TMR 778LP
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$34.00
PREORDER
RELEASE DATE: 9/8/2023
LP version. 2002 release, 2023 repress. "Formed in 1992, Boris boldly explores their own vision of heavy music, where words like 'explosive' and 'thunderous' barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. This is the highly-requested, unbelievably-anticipated official vinyl and streaming release of Boris's 2002 album and first dive into the stoner rock idiom, originally released in Japan on CD only. Heavy Rocks (2002) is heavy, sure, but fuses sludge, noise, stoner rock and hardcore all together for a deeply bone-shaking and unforgettable trip. For fans of: Melvins, Kyuss, Fu Manchu, Boris.
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CD
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TMR 778CD
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$13.00
PREORDER
RELEASE DATE: 9/8/2023
2002 release, 2023 repress. "Formed in 1992, Boris boldly explores their own vision of heavy music, where words like 'explosive' and 'thunderous' barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. This is the highly-requested, unbelievably-anticipated official vinyl and streaming release of Boris's 2002 album and first dive into the stoner rock idiom, originally released in Japan on CD only. Heavy Rocks (2002) is heavy, sure, but fuses sludge, noise, stoner rock and hardcore all together for a deeply bone-shaking and unforgettable trip. For fans of: Melvins, Kyuss, Fu Manchu, Boris.
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LP
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TMR 851LP
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$37.00
PREORDER
RELEASE DATE: 8/18/2023
"The experimentations taking shape in jazz at the end of the '60s with Miles Davis leading the pack pushed jazz in many new directions. Released six months after Bitches Brew, Electric Byrd shows legendary hard bop Detroit trumpet player Donald Byrd was listening to, but not necessarily following concurrent paths. Backed by a diverse group of players including hard bop legends with Brazilians Moreira and Pascoal lending a fresh sound. Shimmering percussion, wind instruments and electric piano and guitar set the backdrop for Byrd's dramatic flight into a psychedelic space with his echo-laden trumpet blasts. The album ends on a rollocking funk featuring his full band that foreshadows the gold he would soon mine with the Mizell Brothers on his string of hit records recorded shortly after. A true glimpse of an artist in transition, it would be difficult to find a more perfect sounding record."
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LP
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TME 851INDIE-LP
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$42.00
PREORDER
RELEASE DATE: 8/18/2023
Opaque blue vinyl. "The experimentations taking shape in jazz at the end of the '60s with Miles Davis leading the pack pushed jazz in many new directions. Released six months after Bitches Brew, Electric Byrd shows legendary hard bop Detroit trumpet player Donald Byrd was listening to, but not necessarily following concurrent paths. Backed by a diverse group of players including hard bop legends with Brazilians Moreira and Pascoal lending a fresh sound. Shimmering percussion, wind instruments and electric piano and guitar set the backdrop for Byrd's dramatic flight into a psychedelic space with his echo-laden trumpet blasts. The album ends on a rollocking funk featuring his full band that foreshadows the gold he would soon mine with the Mizell Brothers on his string of hit records recorded shortly after. A true glimpse of an artist in transition, it would be difficult to find a more perfect sounding record."
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LP
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TMR 854LP
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$37.00
PREORDER
RELEASE DATE: 8/18/2023
"It would be difficult to overstate the importance of the Jones brothers Thad, Hank, and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones' first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on drums and Oscar Pettiford on bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records."
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LP
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TME 854INDIE-LP
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$42.00
PREORDER
RELEASE DATE: 8/18/2023
White vinyl. "It would be difficult to overstate the importance of the Jones brothers Thad, Hank, and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones' first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on drums and Oscar Pettiford on bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records."
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11LP BOX
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TMR 648LP
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Limited stock, gold vinyl version. "Beginning in the 1950s, renowned sculptor Harry Bertoia (1915-1978) created the term 'Sonambient' to describe the sound and environment created by his beautiful metal sculptures. He curated a massive selection of his sculptures and gongs, resulting in a harmonious orchestra of his metal works, and recorded these sound experiments late into the night. Bertoia dedicated the last twenty years of his life to his sound work and in 1970 he released the first Sonambient LP. In 1978, in the final months of his life, he selected tapes from his archive and produced 10 more records. He wouldn't live long enough to see them through production, but they became legendary releases (and quite valuable) in the art/audio world. The complete Sonambient LP collection features all 11 of Bertoia's original records newly restored from their master tapes and housed in replica jackets. A deluxe box, printed with metallic inks and tip-on style print assembly, holds the 11 discs as well as an 80-page book containing a lengthy historic essay, Smithsonian interview with Harry Bertoia, exclusive Sonambient era material from the Bertoia archive, modern and archival photos of the Bertoia barn as well as reflections on Bertoia from various contributors."
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CD
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TMR 919CD
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"Snõõper (the project) began as a collaboration between local Nashville punk mainstay Connor Cummins and Blair Tramel, an early education teacher with a sideline in wickedly funny animation and art. As their cassette tapes and homemade videos began to find scattered fans around the world, the duo brought the project to the live stage in late 2021 and Snõõper (the band) was born. Featuring one of the wildest live shows out there, as well a maelstrom of puppets, 8-bit animation, papier-mâché, whistles, flashing lights and a whirling dervish of bodies, Snõõper commits the live act to a studio setting and sets the stage for one of the most promising punk debut albums in decades." Henry Rollins: "In the briefest of descriptions, Snõõper is a band who, in a 33 1/3 rpm world, make 45 rpm music they play at 78 and it completely works. Even at this incredible speed, Snõõper (the kinetic duo of musician Connor Cummins and visual/video artist, Blair Tramel) is super precise instrumentally and skillfully melodic vocally, even though, again, they're flooring it almost the entire time. The overall effect is a megadose of extremely cool and unique songs that while at the speed of tomorrow, would lose their overwhelming fun factor if played any differently. As far as Snõõper vinyl, there's been three 7" records: 2020's Music For Spies, the Snõõper EP released in 2021 and last year's Town Topic EP. All of them are great but you'd be well advised not to sit down once you've put a side on, as you'll be getting up to flip the record over all too soon. Snõõper's music isn't for sitting around to anyway. Diverging from their regular two person line-up, for Super Snooper, Connor and Blair bought on drummer Cam Sarrett, bassist Happy Haugen and Ian Teeple on second guitar. The results do justice to the music and has evolved Snõõper's sound exponentially. On the fourth listen to Super Snooper now and a new evaluation springs forth: Snõõper don't play fast. They play at the speed of Snõõper. The band is so tight, the songs so ready for the Bonneville Salt Lake Flats testing site, one might conclude Snõõper's just leapin' and lopin', to borrow the title of Sonny Clark's excellent 1962 Blue Note LP. Snõõper's completely happening 11-23-22 thirty-four song 27:22 set at Nashville's Exit/In, mercifully recorded and released so you can back up your witness testimony as to how smokin' the show was with actual audio verification is further proof of how totally ripping this band is and brings to mind a topic insinuated by the live recording but proven true by Super Snooper..."
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LP
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TMR 919LP
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LP version. "Snõõper (the project) began as a collaboration between local Nashville punk mainstay Connor Cummins and Blair Tramel, an early education teacher with a sideline in wickedly funny animation and art. As their cassette tapes and homemade videos began to find scattered fans around the world, the duo brought the project to the live stage in late 2021 and Snõõper (the band) was born. Featuring one of the wildest live shows out there, as well a maelstrom of puppets, 8-bit animation, papier-mâché, whistles, flashing lights and a whirling dervish of bodies, Snõõper commits the live act to a studio setting and sets the stage for one of the most promising punk debut albums in decades." Henry Rollins: "In the briefest of descriptions, Snõõper is a band who, in a 33 1/3 rpm world, make 45 rpm music they play at 78 and it completely works. Even at this incredible speed, Snõõper (the kinetic duo of musician Connor Cummins and visual/video artist, Blair Tramel) is super precise instrumentally and skillfully melodic vocally, even though, again, they're flooring it almost the entire time. The overall effect is a megadose of extremely cool and unique songs that while at the speed of tomorrow, would lose their overwhelming fun factor if played any differently. As far as Snõõper vinyl, there's been three 7" records: 2020's Music For Spies, the Snõõper EP released in 2021 and last year's Town Topic EP. All of them are great but you'd be well advised not to sit down once you've put a side on, as you'll be getting up to flip the record over all too soon. Snõõper's music isn't for sitting around to anyway. Diverging from their regular two person line-up, for Super Snooper, Connor and Blair bought on drummer Cam Sarrett, bassist Happy Haugen and Ian Teeple on second guitar. The results do justice to the music and has evolved Snõõper's sound exponentially. On the fourth listen to Super Snooper now and a new evaluation springs forth: Snõõper don't play fast. They play at the speed of Snõõper. The band is so tight, the songs so ready for the Bonneville Salt Lake Flats testing site, one might conclude Snõõper's just leapin' and lopin', to borrow the title of Sonny Clark's excellent 1962 Blue Note LP. Snõõper's completely happening 11-23-22 thirty-four song 27:22 set at Nashville's Exit/In, mercifully recorded and released so you can back up your witness testimony as to how smokin' the show was with actual audio verification is further proof of how totally ripping this band is and brings to mind a topic insinuated by the live recording but proven true by Super Snooper..."
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CD
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TMR 878CD
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"On April 7, North Americans -- the project of Los Angeles guitarist Patrick McDermott and Portland's Barry Walker on pedal steel -- released their new album Long Cool World via Third Man Records. As North Americans, McDermott has been experimenting with drone and noise and how it can take shape, and then jettison that shape, since 2013s No_No, but it's when he embraced his love of fingerpicked guitar and vintage country music on 2018's Going Steady that he settled on a sound that felt like a genuine melding of his disparate musical interests. 2020's Roped In was another creative milestone: with Walker and a host of other collaborators, including harpist Mary Lattimore and guitarist William Tyler, among others, creating a communal, layered approach to each track that felt vital as the world dipped into isolation during a global pandemic. Long Cool World strips away most of the musical collaborators, allowing Walker and McDermott to settle on an approach that is at once intricate and simple, creating hypnotic music that loops and layers, with subtle shimmers of noise or quiet psychedelic freakouts hiding beneath McDermott's unshowy but emotionally affecting guitarwork and Walker's pedal steel hum. The duo refined their collaborative relationship as well, with McDermott sending isolated guitar tracks to Walker, who then listened to them while on drives and walks around Portland, before going into the studio with only a loose sense of what he wanted to add to them. Eventually McDermott and Walker came together to record the album, giving the whole thing a sort of free-flowing, naturally collaborative feel. 'We were really excited to dig into our own process in a more focused way together,' McDermott says. Walker echoes this sentiment, speaking of how those guitar loops built into a full-fledged collaborative relationship: 'There were times when we played the organ together,' Walker says, speaking of the tandem organ drone of 'The Last Rockabilly.' 'We sat down and it was feeding through the Leslie speakers and we were doing a drone together -- it was a lot of instinct.' At its core, Long Cool World is a confident album that finds its heart in deceptively simple moments: the pedal steel cascading over McDermott's strumming on 'Think of Me as a Place' or the quiet burst of noise at the midpoint of first single 'Classic Water,' or the warm, drunk wobble of album closer 'Bad Box,' are all moments that happily exist on the periphery of the core sound of the record, but take center stage the more you listen."
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LP
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TMR 878LP
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LP version. "On April 7, North Americans -- the project of Los Angeles guitarist Patrick McDermott and Portland's Barry Walker on pedal steel -- released their new album Long Cool World via Third Man Records. As North Americans, McDermott has been experimenting with drone and noise and how it can take shape, and then jettison that shape, since 2013s No_No, but it's when he embraced his love of fingerpicked guitar and vintage country music on 2018's Going Steady that he settled on a sound that felt like a genuine melding of his disparate musical interests. 2020's Roped In was another creative milestone: with Walker and a host of other collaborators, including harpist Mary Lattimore and guitarist William Tyler, among others, creating a communal, layered approach to each track that felt vital as the world dipped into isolation during a global pandemic. Long Cool World strips away most of the musical collaborators, allowing Walker and McDermott to settle on an approach that is at once intricate and simple, creating hypnotic music that loops and layers, with subtle shimmers of noise or quiet psychedelic freakouts hiding beneath McDermott's unshowy but emotionally affecting guitarwork and Walker's pedal steel hum. The duo refined their collaborative relationship as well, with McDermott sending isolated guitar tracks to Walker, who then listened to them while on drives and walks around Portland, before going into the studio with only a loose sense of what he wanted to add to them. Eventually McDermott and Walker came together to record the album, giving the whole thing a sort of free-flowing, naturally collaborative feel. 'We were really excited to dig into our own process in a more focused way together,' McDermott says. Walker echoes this sentiment, speaking of how those guitar loops built into a full-fledged collaborative relationship: 'There were times when we played the organ together,' Walker says, speaking of the tandem organ drone of 'The Last Rockabilly.' 'We sat down and it was feeding through the Leslie speakers and we were doing a drone together -- it was a lot of instinct.' At its core, Long Cool World is a confident album that finds its heart in deceptively simple moments: the pedal steel cascading over McDermott's strumming on 'Think of Me as a Place' or the quiet burst of noise at the midpoint of first single 'Classic Water,' or the warm, drunk wobble of album closer 'Bad Box,' are all moments that happily exist on the periphery of the core sound of the record, but take center stage the more you listen."
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2LP
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TMR 764LP
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Double LP version. 2003 release, 2023 repress. "Recorded in 1996 and not released (in slightly different edit/mix) until 1999 under the title Jerusalem, the legend and lore behind Dopesmoker would overshadow an LP of any lesser significance. But the 63-minute magnum opus dedicated exclusively to the sacrament of marijuana is not just the pinnacle of the goofily named stoner metal genre... it's inarguably one of the most important and influential albums of all time."
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CD
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TMR 764CD
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2003 release, 2023 repress. "Recorded in 1996 and not released (in slightly different edit/mix) until 1999 under the title Jerusalem, the legend and lore behind Dopesmoker would overshadow an LP of any lesser significance. But the 63-minute magnum opus dedicated exclusively to the sacrament of marijuana is not just the pinnacle of the goofily named stoner metal genre... it's inarguably one of the most important and influential albums of all time."
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LP
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TMR 034LP
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$15.00
PREORDER
RELEASE DATE: 6/30/2023
2010 reissue, originally released in 1985. "Reissue of a long out of print Texan cult classic. On black, regular weight vinyl. We don't even know how this record landed in our lap. After a series of one-word phone calls exchanged between our offices in Nashville and a quonset hut in Marfa, Texas a mysterious package arrived via Lonely Express ('it's like the Pony Express, only slower and with booze!') and contained within were the tumbleweed-encrusted master tapes to the mythical Texas Funeral album. Originally released in 1985 by the ever-secretive band Jon Wayne, Texas Funeral is the quintessential cult classic. There is no fence-sitting with this album. You're either fully-indoctrinated and can recite the catch-phrase lyrics like 'Faders up!', 'Ain't no country I know!', 'No go diggy die' and the all-purpose 'Texasss!' or you can't stand it in the least. Rumor was that Quentin Tarantino wanted to include the song 'Texas Funeral' on the soundtrack for Pulp Fiction but couldn't even get ahold of the band to license the damn thing. The songs are funny without venturing into comedy, they are punk without resorting to cheap-o pastiche and they are country in the spirit of Merle Haggard and other like-minded renegades. To our ears, this album sounds as fresh as it did when we first heard it and we are beyond proud to release it in hopes of initiating more folks into the cult."
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CD
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TMR 776CD
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"London-based Gina Birch began her storied career in music in 1977 when she formed the feminist punk band The Raincoats with fellow Hornsey School of Art student, Ana da Silva. Gina and Ana witnessed an early performance by The Slits and although neither of them knew how to play any instruments, they knew they had to start a band. Just months after they picked up their instruments, they were on stage doing their thing around London and the UK in the fledgling and groundbreaking punk rock scene. The Raincoats quickly developed a large and loyal group of fans and supporters, among them Red Krayola, Swell Maps and Geoff Travis and his new record label, Rough Trade. The Raincoats went on to record three albums for Rough Trade that are frequently found on lists of the most important records of the punk rock era and are still name checked as influences by artists today. Originally, The Raincoats broke up in 1984 but were talked into reforming in 1994 when Kurt Cobain asked them to go on tour in support of Nirvana (sadly, that never happened). With a renewed interest in the band led by Kurt and Kim Gordon, The Raincoats records were reissued with liner notes by Kurt and Kim themselves. Worldwide tours and a brand-new fourth album on DGC resulted in 1996. The Raincoats still perform today for special events and have started their own record label, We Three Records, to handle their back catalog. Gina is a respected painter, a celebrated filmmaker and video director (directing videos for The Libertines and New Order to name a few) and is a mother of two wonderful daughters. She has formed and fronted the band Dorothy and The Hangovers. In September of 2021, Gina released her first ever solo single, 'Feminist Song', on Third Man Records in celebration of the opening of their brand-new London location. In February of 2023, Third Man will release Gina's brand new and first ever solo full-length album, I Play My Bass Loud, recorded by Martin 'Youth' Glover from Killing Joke and featuring Thurston Moore from Sonic Youth."
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LP
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TMR 776LP
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LP version. "London-based Gina Birch began her storied career in music in 1977 when she formed the feminist punk band The Raincoats with fellow Hornsey School of Art student, Ana da Silva. Gina and Ana witnessed an early performance by The Slits and although neither of them knew how to play any instruments, they knew they had to start a band. Just months after they picked up their instruments, they were on stage doing their thing around London and the UK in the fledgling and groundbreaking punk rock scene. The Raincoats quickly developed a large and loyal group of fans and supporters, among them Red Krayola, Swell Maps and Geoff Travis and his new record label, Rough Trade. The Raincoats went on to record three albums for Rough Trade that are frequently found on lists of the most important records of the punk rock era and are still name checked as influences by artists today. Originally, The Raincoats broke up in 1984 but were talked into reforming in 1994 when Kurt Cobain asked them to go on tour in support of Nirvana (sadly, that never happened). With a renewed interest in the band led by Kurt and Kim Gordon, The Raincoats records were reissued with liner notes by Kurt and Kim themselves. Worldwide tours and a brand-new fourth album on DGC resulted in 1996. The Raincoats still perform today for special events and have started their own record label, We Three Records, to handle their back catalog. Gina is a respected painter, a celebrated filmmaker and video director (directing videos for The Libertines and New Order to name a few) and is a mother of two wonderful daughters. She has formed and fronted the band Dorothy and The Hangovers. In September of 2021, Gina released her first ever solo single, 'Feminist Song', on Third Man Records in celebration of the opening of their brand-new London location. In February of 2023, Third Man will release Gina's brand new and first ever solo full-length album, I Play My Bass Loud, recorded by Martin 'Youth' Glover from Killing Joke and featuring Thurston Moore from Sonic Youth."
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LP
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TMR 395LP
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2017 release. "The Blue Room at Third Man shook with the sludge-drone majesty of Olympia, Washington's Earth. Anchored by wife-husband duo Adrienne Davies and Dylan Carlson, this band has an integral spot in American music by bringing a low-frequency uproar and six-string extremism to the forefront of the experimental, punk metal underground. More concisely, they are widely considered the pioneers of drone metal. The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord. Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four first-class compositions, employing powerful guitar drones and Davies' precise, slow-motion percussion swirling throughout."
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2LP
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TMR 724LP
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2021 release. "A 4/20 surprise release from stoner rock progenitors Sleep. This 2x12" single collection features both of Sleep's iconic 12" singles -- 2014's The Clarity and 2018's Leagues Beneath -- packaged together for maximum monolithic potency. Each 180g single has music on the A side and a new etching by artist Dave Kloc on the B side, plus all new artwork by Kloc on the gatefold LP jacket. A must-have for Sleep fans everywhere."
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LP
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TMR 689LP
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2020 release. "... Third Man Records is chuffed to present to you the New Mexico-based artist, Heather Trost's second solo full-length. Petrichor is fresh, unique, and really fucking good. Sonically, this modern psychedelic pop music is as experimental as it is accessible. Petrichor was recorded between 2018 and 2019 by Heather Trost and her husband Jeremy Barnes at their home studio. The two are community activists, urban gardeners, and full-time musicians. Feel joy now, find the time to watch the sunrise over the mountain/Make the space for yourself for others, we may not have the chance again/Things change so fast, we're not prepared/A precipice may open up anytime, separating us from life once again -- 'Let It In' Trost has an impressive body of work, notably in collaboration with husband Barnes (Neutral Milk Hotel) on their own record label, Living Music Dupli-Cation, and their dazzling and uncategorizable Eastern European folk-influenced band, A Hawk And A Hacksaw, where she sings and plays violin, autoharp, keyboards, and other instruments. In the last two decades, Trost has toured and recorded with dozens of artists, including Beirut, Jospehine Foster, Thor and his Friends, Claire Cronin, the Swans, and her old band Foma. Fans of A Hawk And A Hacksaw might be surprised at how different Trost sounds; she describes the difference as working in 'two different languages.' Trost explains that 'recording music and writing songs reminds me of making a collage or a quilt.' When I was young I laid in the sand of a dry river bed in the desert sun/ I'll think of you in the canyon, winter won't last so long/Petrichor I feel your shadow in the morning air -- Petrichor. These seven lush, beautiful songs defy easy categorization, gleefully mixing elements from multiple genres--but it's never to impress you or show off. You might not even notice how smart the record is until a fifth listen, a testament to how much work was put into the futuristic and shimmering record. We all can have a hard time holding on to a shred of hope. With Trost's, Petrichor, we have a record that sounds like the soundtrack to what might come next, on the off chance that what comes next really doesn't suck. 'Even though shit had yet to hit the fan when I wrote these songs,' Trost says, '2019 also felt like such a crazy year in terms of what was happening in the world, I felt like I needed to remind myself to have joy and love in my heart. It's something I meditate on a lot, especially when it seems like the world is ending.'"
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2LP
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TMR 750LP
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"Third Man Records is excited to announce Southeast of Saturn Vol. 2. The compilation is a follow up to 2020's Southeast of Saturn, a collection of music from Detroit's space-rock/shoegaze/dream pop scene of the '90s. The second volume expands upon the Michigan-centric aural delights purveyed on Vol. 1, by including groups from throughout the Midwest. Highlighting groups spanning Michigan, Ohio, Illinois, Indiana, Wisconsin, and Minnesota, Vol. 2 works to cement the Midwest's status as a breeding ground for the space-rock and shoegaze subgenres, which more famously burgeoned in the UK. Once again, there are no big names or crossover artists on Southeast of Saturn Vol. 2. However, for those who know that digging deep in the real and virtual record bins yields the greatest rewards, this 18-track compendium will trigger profound swoons. We've scoured the Midwestern underground, highlighting the evanescent acts of the '90s such as Star Phase 23 and Sidereal, so you don't have to. Southeast of Saturn Vol. 2 is first-class aural escapism from America's big-shouldered outpost of outward-bound rock."
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7"
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TMR 786EP
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"London-based Gina Birch began her storied career in music in 1977 when she formed the feminist punk band The Raincoats with fellow Hornsey School of Art student, Ana da Silva. Gina and Ana witnessed an early performance by The Slits and although neither of them knew how to play any instruments, they knew they had to start a band. Just months after they picked up their instruments, they were on stage doing their thing around London and the UK in the fledgling and groundbreaking punk rock scene. The Raincoats quickly developed a large and loyal group of fans and supporters, among them Red Krayola, Swell Maps and Geoff Travis and his new record label, Rough Trade. The Raincoats went on to record three albums for Rough Trade that are frequently found on lists of the most important records of the punk rock era and are still name checked as influences by artists today. Originally, The Raincoats broke up in 1984 but were talked into reforming in 1994 when Kurt Cobain asked them to go on tour in support of Nirvana (sadly, that never happened). With a renewed interest in the band led by Kurt and Kim Gordon, The Raincoats records were reissued with liner notes by Kurt and Kim themselves. Worldwide tours and a brand-new fourth album on DGC resulted in 1996. The Raincoats still perform today for special events and have started their own record label, We Three Records, to handle their back catalog. Gina is a respected painter, a celebrated filmmaker and video director (directing videos for The Libertines and New Order to name a few) and is a mother of two wonderful daughters. She has formed and fronted the band Dorothy and The Hangovers. In September of 2021, Gina released her first ever solo single, 'Feminist Song', on Third Man Records in celebration of the opening of their brand-new London location. In February of 2023, Third Man will release Gina's brand new and first ever solo full-length album, I Play My Bass Loud, recorded by Martin 'Youth' Glover from Killing Joke and featuring Thurston Moore from Sonic Youth."
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CD
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TMR 775CD
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"Isokratisses (Greek for women who sing the 'iso' or 'drone') is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. 'It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or 'drone' that is the low tonic note of the melody.'"
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LP
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TMR 775LP
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LP version. "Isokratisses (Greek for women who sing the 'iso' or 'drone') is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. 'It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or 'drone' that is the low tonic note of the melody.'"
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