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viewing 1 To 7 of 7 items
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LP
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TLR 099LP
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"It can take a lot for a single album to stand out from a discography as epic as MV's, but by the time you're given this one a single spin it becomes very clear that a new apex has been reached. This long in the works solo outing somehow merges nearly every one of the finest elements of past releases into a perfectly executed singular vision. There's an intensely personal, exposed element to the song writing here, increasingly hinted at in the recent past but never so purely focused. Likewise the music itself has a honed edge thats both unharnessed yet precise, drifting just enough, but never too far. A newborn musical trajectory wrapped in MV's most loving & elaborate 'spectrasound' production to date, creating a sonic pallet that simply ripples with nuance, tone, and a seemingly bottomless depth of detail. All together, a start-to-finish trip that's instantly memorable & hummable, subtly intimate yet cosmically blasted. Restrained yet fully rocking, with that unmistakable burnt, ragged edge. Blazing grace indeed-- distinctly a solo vibe, but without any shortage of help on board. Guests include : Erika Elder, P.G. Six, MICK Flower, Spanish Wolfman, Jeremy Earl, J. Mascis, Meg Baird, Pete Nolan, Muskox, Carson Arnold, and Rongoose, all adding to the decidedly rich, earthy, and futuristic sound. Endless guitars of every texture, lush mellotron, vibrating harmonies, star-dust synth, hazed rhythms, eastern drones, and far more, all fluidly entwined -- packaged in a beautiful full color laminated 60s style heavy tip-on cover, with large insert. Edition of 500 copies."
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LP + 7"
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TLR 057-58LP
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"First ever reissue of this massively cool and hideously rare 1973 rural Pennsylvania private press jewel, originally released on the legendary RPC custom label in an edition of only 25 copies. The sound is essentially split between the two dominate modes of polarized male youth psyche: alternating moody, dejected, love scorned, melancholy folkrock with wasted, howling, proto-punk garage fuzz brain fry. All together it's a totally sincere lost in time vibe, delivered with gobs of naive charm and executed with almost zero resources. The album was recorded and mixed direct to tape in just a few hours, without overdubs or even the option to mix down. You can hear the clearly unprepared recording engineer frantically flipping switches and tweaking knobs in a state of near panic as these kids tear furiously through a rapid fire album worth of original songs, always teetering on the edge of total collapse, yet never quite imploding. While the end results are, to say he least, very crude, the band pulls together a distinct and wonderful sound. Underpinned by Ken Turcic's dry, low, rubbery bass lines and Greg Cheplick's wildly raw and cool drumming (he's only 15 at the time) Dennis Cheplick (Greg's older brother) and Jack Sarvis trade off vocal duties, guitars licks, and writing credit. Rhythm guitars chug excitedly, acoustic 12-string adds a sweet, chiming, folky texture, and Sarvis switches between a great, slightly surf-tinged ringing reverb tone and frenetic fuzz figures. Totally essential if the sound of 'rural,' 'real people,' and 'garage' all in the same sentence peaks your interest. Pressed on highest quality 180 gram virgin vinyl. Packaged in an exact reproduction heavy weight reverse tip-on cover, with exact repro label art, a heavy double sided insert with loads of vintage color photos and extensive liner notes, plus a bonus heavy vinyl 45 rpm 7-inch.One time vinyl only pressing of 500 copies."
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LP
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TLR 053LP
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"Top quality official reissue of this wonderful album. This project is a bit different from other Time-Lag reissues, as the original isn't exactly a mega-rarity. That's not to say that they're easy to find, but our motives for the reissue have more to do with the fact that this great LP has been seriously overlooked by so many, and feels very ripe to reach some new ears. This one's got a pretty wild backstory too, being a rather undiscussed piece of 60s Texas underground history: in 1966 Larry 'Sunshine' Rice was feeling burnt by the increasingly superficial hippy scene in San Francisco, so headed to Dallas, Texas, the 'center of darkness' and the place he was raised, with a vision to transform minds. A random gig doing psychedelic light shows at a local bar led to a job managing a new 'hip' church. And so the 'Satori House' was founded. Through this outlet Sunshine held experimental light & sound worship sessions, began hosting underground rock concerts, launched a free press, and just about any & all other activities towards the goal of turning on Dallas. It was, of course, a great success while it lasted, which was not long once a federal drug bust (total set-up) went down, and the higher-ups in the parent church organization got wind of just exactly what their cash had been backing. During the extended trial that followed Sunshine split the city for tiny Justin, Texas and founded 'The Church Of Changes' Texas' first marijuana church, claiming grass as their sacrament and legal right. It was at this point that a series of truly unlikely synchronicities led to a record deal & recording session, but by the time Here's Sunshine was released in the summer of 1969, Sunshine was back in California living as a fugitive. He never showed up at his meeting with the bigwigs at blue thumb records who were planning to release his follow up album, thus quickly and purposely ending his connection to the music industry. If that's got your head turned, you'll almost certainly dig the music. It's a mystical and convoluted folk trip, executed with the lonesome single-mindedness of a true searcher. Warm intense vocals are delivered in a magically loose, flowing style. Tim Buckley comparisons pop up, and that's not totally off the mark if you replaced any avant/jazz leanings with more of a tripping-in-the-desert vibe. Lyrically things get truly bent, venturing into some deeply surreal & glassy-eyed zones. There are a few grasps towards religious ponderance, but it's very far from a 'xian' album. Stream of consciousness broodings on nature, work, love, god, Satan, sex, hallucinations, and so forth. It's a totally solo recording centered on understated but effective acoustic guitar, and fleshed out via overdub with rather unusual use of electric bass, organ, banjo, mandolin, and harmonica. Things get especially psychedelic when the bass comes in, either as an ultra-minimal echo-drenched pulse or a flowing tonal improvisation. The hyper compressed and reverb saturated production somehow suites the material perfectly, and the combination of elements creates quite an immersive, mirage-like and exploratory space. This one is far stronger, more hallucinogenic, and has gobs more personally then most of the over-hyped, mega-bucks coffee house folk strummers passed off as loner/downer/acidfolk these days. This record's got a real spirit of its own, that with repeated listens will sneak right into your mind before you even know it. And I'm sure that's the way Sunshine intended it. Beautiful exact reproduction art packaged in a lovely heavy 60s style cover and pressed on 180gm audiophile vinyl. Includes an insert with new notes from the artist, as well as a short except from his book 'Morning Glory,' which was written in 1968 and tells the story behind the album, but has yet to be published. One time vinyl only edition of 500 copies."
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LP
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TLR 047LP
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LP version. "Finally available on vinyl. Packaged in a lovely three-color, screen-printed heavy stock tri-fold art paper cover, with heavy stock offset printed lyric insert. Limited edition of 500 copies. We'll let Joe himself shed a little light here: 'touring the East Coast in 2003, someone asked, 'you're from Indiana - have you ever heard of the Bible Bird man?' I hadn't, so I did some research. His video had already been stolen from the library at Earlham College, but I stole it back and returned it. I began to imagine what the musical equivalent of his evangelical bird act might sound like. I wrote a song about the Bird Man, thinking of releasing it as a 're-issue' of a central Indiana country-gospel group that had never existed - the Bible Birds. Then I thought maybe I would do an Elephant Micah album of covers originally written by this (non-existent) Bible Birds band. In the end of course the concept kind of dissipated and it just became an Elephant Micah album. I recruited Beth Remis from Static Films (and more recently Pillars And Tongues) to help arrange/sing harmonies for the songs, and generally bring them up to pseudo-gospel snuff. We played the songs around the upper midwest once with Ben Racher on a portable pump organ and Jason Henn on upright bass. All of us got together in Indianapolis in 2006 and recorded this. I drove everyone crazy with my insistence on weird recording methods. I think i was kind of trying to approximate the timbres of the hymn sing broadcast on Salem, Indiana's WSLM. Who knows? I was critical of the results and didn't finalize them for several years. Here it is finally, a kind of 'prequel' companion to the Hindu Windmills (Time-Lag 035) album.' -- Joe O'Connell 2010. So there you have it. An overlooked chapter from this wonderful artist finally seeing the light of day, and a perfect companion piece to the highly praised Hindu Windmills album. Both albums are clearly united by their warm, lo-fi intimacy, sparse production, and stunning song-craft. Strikingly simple & beautiful stuff."
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LP+CD
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TLR 050LP
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"Packaged in a truly cool and unusual three-color, screen-printed, double-sided foldout art paper cover, with a flocked/screen-printed fuzzy, mini-poster insert. Pressed on highest quality 180 gram vinyl with full-color photo-printed labels. Each copy also includes a bonus CD version of the album in its own metallic-printed cover (different from the standard CD cover) for easy all night repeat-o-play. Edition of 400 copies."
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2LP
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TLRRR 007LP
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"A deluxe vinyl version of the band's mega-limited private press CD-R debut from about 5 years back. Recorded and self-released at the very inception of the band, this was an out-of-nowhere 77 minute mind-blower. Elements of their more distilled untitled Time-Lag LP are present in new-born form, but overall this is a far wider-ranging and raw trip. A home recorded mix of roughhewed songs and spontaneous improvisation melding together primitive bedroom acidfolk, fuzzy sci-fi psych-outs, bent occult trance ritual, fake xian folk, loose cosmic jamming, spooked drones, pagan mysteries, and some stuff that's just pretty much beyond words... The whole trip is totally psychedelic, deeply textured, dripping vibes, wide-eyed, and more than anything else, wickedly fun. One of those rare documents of a young band unselfconsciously doing their thing, and 'their thing' pretty much rules. Absolutely zero info as always, but this time you get a few rather amusing band photos for extra charm. Pressed on two slabs of 180 gram bright red vinyl and packaged in an ultra-minimal heavy art paper gatefold cover with raised plastic ink screen printed cover text, paste-on interior Polaroid photo sticker, stamped and hand numbered spine. Printed & hand stamped labels. Plus, each copy is enclosed in a two-tone stitched synthetic felt (made from 100% recycled plastic bottles) envelope pouch in various color combinations, hand assembled one at a time by my mom (thanx mom!). Limited & numbered edition of 266 copies."
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LP
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TLR 038LP
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"Long in the works reissue of this amazing and little known gem, Beautiful People, from 1972. Born in Miami, Florida to an American father and Venezuelan mother, Bill split the USA to Madrid, Spain in the early '70s. Once there he quickly landed a recording deal with famous producer Alain Milhaud of the Explosion label, and set to work on this, his sole LP release. Sessions went down with an impressive cast of up to eleven players in the studio, including Salvador Dominguez & Chema Pellicó (Cerebrum), Jess Lam (Jess & James), and Frank Rojas (Sangre). One of the album's real hidden treasures, though, was the assistance of unknown Texan Mark Gottschall, who co-wrote the title track and adds perfect vocal harmonies as well a second acoustic guitar. A finely balanced mix of sounds that drifts between throbbing electric full band groove and gentle acid folk. When Bill wants to rock, things get downright funky, with a wickedly hard-hitting rhythm section, pumping organ, scorching electric leads, and flipped-out acoustic guitars all locking into some seriously tight jams. Then the next minute, the mood swings and you're deep into some beautifully fragile and introspective folk meditations; often just two acoustic guitars, Bill's lyrics, and huge, angelic, vocal harmonies all weaving together into lush tapestries of sound. A few tracks fill out a more folk-rock vibe with flute, autoharp, piano, slide guitar, banjo, and more. Bill's lyrics (all in English) and vocals always feel deeply sincere, which combined with his unique voice, unusual accent, and loose delivery, make for one hell of a cool singer. The whole album has an air of mystical psychedelia, yet never strays far from pop craft, and there's a real sun-blasted quality to it all that just makes you want to crank the volume. Nothing amateur or lo-fi about this one; it's a pro recording and these guys have serious chops. It's hard to image why it didn't become a hit at the time. The album was released only in Spain and Brazil, to very little interest, and quickly became yet another great album lost to obscurity -- at least until now. Reissued here for the first time, with the collaboration of producer & Explosion label owner Alain Milhaud. Packaged in a heavyweight gloss coated exact reproduction of the original cover, including the original double-sided insert, as well as a huge new full color fold-out insert which reproduces at nearly full size the totally different Brazilian version of the album art. Plus extensive notes by album musicians Salvador Dominguez & Mark Gottschall, and Alex Carretero (Guerssen Records, Spain). Also a small photo of some rare picture sleeves 45s, promotional inserts, lyric sheets, etc. Even the LP labels reproduce the original psychedelic full color explosion label art. Pressed on 180gm audiophile grade vinyl & limited to 1000 copies."
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