COMING 9/8/2008
EXCLUSIVE.  Beautiful 2005 album from now defunct British troubadours. Mike now plays in LTI band Co-pilgrim. At just under 5 years since the inception of the band, Black Nielson have established an impressive reputation, both on record and as a live act. The modest level of success achieved by the band can be traced in a steady trajectory from noble beginnings on the south coast of England, formed by principle songwriter Michael Gale… And that trajectory shows no sign of abating. Throughout their progression, Black Nielson have undertaken national tours in the UK with French Kicks, Beachwood Sparks, Mark Gardener, Goldrush, Slumberparty and The Rock Of Travolta, using their time on the road to hone any new material ready to be recorded. From the band's very first performances, it became clear it was only a matter of time before some small independent would snap them up… Oxford’s Truck Records did just that, won over by the first Black Nielson appearance at the label's own Truck festival in 2000. Recorded in just one week and released in early 2001, the debut album “Still Life Hear Me” showcases a band clearly eager to burst free from their Hampshire roots. Helped along by the two subsequent singles, “Still Life Hear Me” quickly found a following amongst an unsuspecting public. Airplay from Steve Lamacq on the Evening Session, XFM, London Live, Sean Hughes and Gideon Coe on 6Music, Mark Radcliffe and the late, great John Peel (amongst others) garnered the growing reputation of the band and complimented glowing reviews from NME, Mojo, The Fly and Careless Talk Costs Lives. The Independent awarded the first single, "Lasoo The Moon", single of the week, and everything was set for the next step. Truck studios had always been the home of Black Nielson’s recording sessions in the past, and so it continued for mid 2003’s “The Seahorse Boe”. A new component was drafted in this time in the shape of mixer/producer Phil Vinnall. His considerable experience at the helm (working with Elastica, Pulp, Placebo, dEUS and the Zephyrs) gave the record an added depth and vivacity. “The Seahorse Boe” followed its 2001 predecessor into the media spotlight, receiving critical praise from the Independent, the Times, Rock Sound, Logo Magazine and many others, including album of the month in polish E-zine Screenager. Such widespread interest ensured international distribution of the steadily blossoming back catalogue in Europe, Scandinavia and North America. An epic, eclectic and beautiful record, “The Seahorse Boe” proved Black Nielson could continue to deliver exciting, forward thinking music. After more writing and touring in late 2003/early 2004 (including European Festival dates with Sharko), Black Nielson are again moving forward. Changing the scenery as well as upping the momentum has seen them leaving Truck Records, gaining a new drummer and moving temporarily to the Cornish coast to record their first self produced, self financed album – without doubt the most exciting set from the band to date. Vindication of this has already been voiced by Loose Records in the UK (set to include one song on their next influential label compilation) and much farther afield from Low Transit Industries, licensed to release Black Nielson's new opus in Australia (spring 2005). That trajectory just keeps curving upwards, and the sky’s the limit.

COMING 9/8/2008
EXCLUSIVE.  Quirky debut album from teen prodigy co-written & recorded by Brain Deck (Modest Mouse, Iron & Wine). “A rambling, rollicking and spikey vision of Americana, indie-rock and blues… brilliant” ROLLING STONE - 3 1/2 stars “Touched by a beautiful naievity and innocence, this is where all pop music originated from. Worth seeing where Boddicker can go with it” THE CITY HUB

COMING 9/8/2008
EXCLUSIVE.  Big, loud, quirky, rock... what else can we say. VIVA FONDA 500!!! Since emerging from a disillusioned British music scene in 2000 with their critically acclaimed album ‘8 Track Sound System’, Fonda 500 have pre-empted musical styles and scenes, and released a succession of influential yet highly individual albums. Their forthcoming release ‘Je M’appelle Stereo’ is no exception. True to form Fonda 500 are once again unapologetically irreverent, this time gifting us with a true timeless classic, full of woderment, love and audacious twists and turns brimming with Northern swagger. Refreshingly free from gimmicks and trends, ‘Je M’appelle Stereo’ will both electrify the body and warm the soul. Fonda 500 sound like all your favourite bands from the last 40 years queuing up to dive into a pool full of jelly puppies. That’s not to say they don’t have their moments of melancholy, pathos and seriousness. It’s just that once you’re on board this new musical love train, you’ll see that the refreshment carriage is always open, the hostesses are accommodating and the glass is always full. In short, you’ll never want to alight. The sound of Fonda 500 makes a beguiling group photograph. Outrageous Led Zep riffs firmly hold up the back row whilst Beatles rhythms make rabbit ears sneakily behind Kraftwerks’ upright mid-row stance. SFA mess up the middle of the photograph by tickling ELO in the ribs and making the 2nd row a blur. The front row is topped off with the Beastie Boys sat hands on knees next to Cornelius, with beautiful Brian Wilson cheekily lying on the floor pretending to swim. "Who the hell is this? This is awesome!" is the correct two sentence response to first listening to the new record from Fonda 500... Think Grandaddy meets The Beatles meets Super Furry Animals (without being annoyingly quirkily Welsh) meets awesome” CHEESE ON TOAST "Twisted pop magic of the highest order" NME "Great pop moments topple into each other... play loud and often" Mojo "Some of the best off kilter, genius pop ever recorded in a bedroom" The Edge

COMING 9/8/2008
EXCLUSIVE.  Recorded just before the split of lead song writers Shannon McArdle & Timothy Bracy's marraige, 30 Year Low marks the end of their relationship, the band & is theri most crushingly beautiful record to date. Includes a second disc full of rarities, live tracks & covers from the likes of Bruce Springsteen, Arab Strap & Bob Dylan. "A cracker of an album… The New York-based southerners feel lived in yet ripple with freshness" Sydney Morning Herald "The Mendoza Line add another impressive release to their stable" Xpress "Full of Light and Full of Fire is their first release to absolutely nail it – with just the right balance between passion and power… This is an album soaked in American history both musical and political, fuelled by a burning flame and a desire for something more" Rolling Stone "This is the sweet sad music of humanity my dear, the beguiling melody heard in the distance while the whole shithouse goes up in flames" Inpress ”Full Of Light And Full of Fire is The Mendoza Line's most consistent, poignant and rewarding album to date and, if you haven't heard them before, a damn good place to start” dB ”The tender, cigarettes and alco­hol soaked voices of Shannon McArdle and Timothy Bracy suggest that their hearts have often been tentatively stuck back together, and their sorrow is perfectly underpinned throughout the album by a soulful mixture of acoustica and synth” BMA “Clutch Bright Eyes in one hand, Holly Golightly in another, smoosh in a bunch of other particularly arty, indie-country swaggers and voila! The Mendoza Line. They’ll awaken your eyes to much light; a skerrick of hope may be left in your ignorant, cynical adolescent blood after listening to them” Tearaway

COMING 9/8/2008
EXCLUSIVE.  2005 album from Melbourne indie elite featuring members of Sleepy Township & Jaguar is Jaguar. New Estate started in 2002 when at the demise of Sleepy Townnship, Mia Schoen and Chris Gorman of ST kept the fires burning by enlisting New Zealand guitar god Marc Regueiro-McKelvie and Mindy Mapp (formerly of Fur) to complete the melodic noise quartet that is NEW ESTATE. This format produced a debut album: Considering… which was released locally on W.Minc records and internationally on LA’s Kittridge Records. A warm and accomplished home recording, Considering… received much airplay on Australian stations: 3RRR, 4ZZZ, RTR, 2SER and college radio around the USA, as well as passionate reviews from all corners of the globe attracting comparisons to such varied acts as My Bloody Valentine, Pavement, and the Faces. Due to work commitments Mindy left and was soon replaced by Brad Cosier on bass who added another song writer to the band making a new total of 4. New Estate toured in Sydney and Brisbane in 2004 and released an EP in 2005 and 2006 respectively. They have just completed their second album: Is It Real? stepping up to a bigger, studio production which highlights the songs’ strength and variation. Is It Real? is due for release on Low Transit Industries early 2007. New Estate plan to tour Is It Real? in Australia and the US in the not too distant future. ”You need this album before the cold really hits. It will be like a psyical presence keeping you company through the rains & chills of this winter. Those lucky enough to possess it will be the proud owners of a slice of Melbourne history as these guys gain more praise” A Fine Line / The Dwarf ”New Estate deliver a searing listen, a sonic snapshot bolstered by songs that will not be hits, but should be” Beat “It’s all a beautiful shambles” The City Hub ”What really sets New Estate apart is the hazy cool of their fuzz rock - there’s a vast difference between Don Henly and company takin’ it easy and Thurston Moore deadpanning that it takes a teenage riot to get her out of bed and Is It Real? Falls on the right side of that divide. Their music is laconic but never lazy; it takes a lot of effort to sound this unaffected” Mess+Noise “There’s a twisted sense of humour at work here and a definite ‘that’ll do’ approach. But New Estate also have pop smarts… consistently good” Rolling Stone - 3 stars “beautifully made music to which you can magic carpet away to a place where you sleep inside the big warm basin of new headphones, lulled to sleep by the warm waves of resonating anthemic-ness” The Dwarf

COMING 9/8/2008
EXCLUSIVE.  New album from Melbourne indie elite featuring members of Sleepy Township & Jaguar is Jaguar. ‘Out of the Ground’ is organic, gritty, raw, loud, sometimes mean, sometimes raucous and occasionally placatory. It’s the culmination of a five year search by four adventurers for the perfect synthesis of their different whiles and ways. Nine months after their first gig in March 2003, New Estate – who first rehearsed as Mia Schoen, Larry G and Marc Regueiro-McKelvie - launched their debut album, 'Considering...' . Released in both Australia and the United States, its combination of noise and catchy pop/rock found wide-spread appeal, however lost its legs due to their former bass player, Mindy, leaving the band a few weeks afterwards. Enter Brad Cosier who had been in attendance at Mindy's final gig. Brad introduced an entirely new sound to what's now seen as the classic band line up, including funk, soul and classic rock at its best. He wrote songs as well! With four songwriters in the band with extremely varied influences, a spanner was thrown in the works of the (let's be honest) ultra-conservative “indie” scene and New Estate dropped off the local radar. For a good three years New Estate composed, recorded and performed like ghosts on speed, gigging at least once week in Melbourne alone (as well as the odd flirt with Sydney and Brisbane) and releasing home recorded singles and EPs to the delight of those who knew better. It was a time of gross under-documentation and lack of recognition, yet massive personal and musical growth for all involved – the band, friends and fans. Fast forwarding to 2007, New Estate re-emerged with 'Is It Real' – an album that made a bold, albeit nervous introduction as the band they're supposed to be. Recorded by Simon Grounds, it perfectly captured a band that was volatile, scared of their future, however seemingly unable to go down without a fight. Also recorded by Simon Grounds, their new album, 'Out Of The Ground' packs the punches and serves as a statement of intent for all they aspire to be – a band not afraid of the dirt but more than capable of digging themselves out before anyone's noticed. ”You need this album before the cold really hits. It will be like a psyical presence keeping you company through the rains & chills of this winter. Those lucky enough to possess it will be the proud owners of a slice of Melbourne history as these guys gain more praise” A Fine Line ”New Estate deliver a searing listen, a sonic snapshot bolstered by songs that will not be hits, but should be” Beat “It’s all a beautiful shambles” The City Hub “There’s a twisted sense of humour at work here and a definite ‘that’ll do’ approach. But New Estate also have pop smarts… consistently good” Rolling Stone - 3 stars “beautifully made music to which you can magic carpet away to a place where you sleep inside the big warm basin of new headphones, lulled to sleep by the warm waves of resonating anthemic-ness” The Dwarf

COMING 9/8/2008
EXCLUSIVE.  As completely incidental as it may seem, the acronym for Sailboats Are White is in fact SAW. Coincidence? Perhaps, but it's also a pretty accurate musical description. You see, saws are used to cut through things like bone, metal and possibly wood, likewise though, Sailboats' music is just as fierce, cutting and destructive to the senses as say, a lumberjack's saw would be to a maple tree. Straight outta Hamilton, SAW play a vicious mix of anger, insanity and speed that really is something to behold - and they do it all without the comfort of a live drummer. ”I’ll admit that I did get a little bit of a fright when I first listened to this album… I almost filled my pants!” Tearaway – 2/5 “it's too sloppy, too crappy... it's cool though - listen a couple of times I reckon you'll like it” Eavesdrop ”This is some grinding aural insanity. The overwhelming chaos of drum loops, angry guitar distorted to the hilt and vocals make for a strange and menacing beast. What we have here is Indie punk that lacks coherence (as good punk should?) but makes up for it with a raw, unbridled ‘sod off or I’ll glass ya’ tone and style. Crazed, amphetamine fuelled riffs and larynx-shredding vocals rise up out of the storm of distortion and hard, fast drum beats. Bloody marvellous! I wouldn’t suggest first thing in the morning, or it might make you cry” Scene “Turbo is a hectic & above all unique album quite unlike anything you’ll have heard this year (if at all)” Time Off “They've got a stupid name, sound like shit and do it loud as fuck. It's pretty good” Beat

COMING 9/8/2008
EXCLUSIVE.  Brief description: Beautiful a slightly uncomfortable country pop bliss from ex Mendoza Line singer/song writer.

COMING 9/8/2008
EXCLUSIVE.  Bastards! Like some unholy breeding ground, SOULS ON BOARD are loyal to an ever-evolving matrimony - beauty and dirt, ugliness and invention, dumb and smart, mind-blowing power and grace. BLOOD FACE is the new EP, the Melbourne group's second release after their "hurtling and assured" self-titled EP debut of 2005. Released by wunderkinds Low Transit Industries, the EP saw the band draw comparisons to The Pixies & Sonic Youth, tour the country with Dan Kelly & The Alpha Males and End of Fashion, play alongside Maximo Park (UK), Faker & Deloris as well as land spots on the Big Day Out and St. Kilda Festivals! BLOOD FACE picks up the hazardous extremes of that first rugged EP and beats them into a new shape. A shape with pointed edges, electricity in the veins and a wall of psychedelic sound bubbling under a whip-smart guitar bleed section. While the tunes bulge with shining phrases & stirring twists, lyrically BLOOD FACE grapples with dark visions and uncomfortable realities - these ills given some respite by the pop playfulness of the 6 tracker. Recorded by Finn Keane (theredsunband, SubAudible Hum) in the heart of Melbourne city, and mixed by Aaron Cupples (Dan Kelly & the Alpha Males, The Drones) between cows and night monsters in the hills of Gippsland, BLOOD FACE captures the peaks and explorations of the bands live set over the last 2 years. A visceral & powerful project on stage, SOULS ON BOARD have captured an experience equal to the sparks of its creation. Punchy, raw, exploding with life and colour . . . introducing BLOOD FACE. R E V I E W S : “Blood Face is an ambitious release delivered with confidence and gusto and will no doubt leave punters cheering for more” Rave ”Helmed by a vivid, coolly electric guitar tone – the voltage feels integral, for reasons not yet tangible – the second EP from Melbourne’s Souls On Board confirms that their melange of atmospheric soundscapes, plangent stadium rock and jazzy, experimental pop lacks for neither vision nor a sense of reality… they feel on the verge of discovering something essential within their music. They’re already closer than too many of their contemporaries will ever get” Mess+Noise “In conclusion, Souls On Board as a group perpetuate many questions. With their eclectic mix of pop and heavy guitar riffs, Blood Face cements their own creative space in music as their songs take your hand and lead you in one direction before suddenly halting and taking you on an alternate route, repeat and serve hot” The Dwarf ”I don’t think I’ve heard such a ragtag, mixed-back offering of songs sound as cohesive as this in a while. Mainly because, as far as I can tell, SOB’s versatility doesn’t compromise their musicianship, and they know how to write a solid number with a pulse and a point” Beat / Xpress

COMING 9/8/2008
EXCLUSIVE.  Deluxe single feating radio faves "Sugarcoat" & "All For The Caspian". Features a live track & remixes from New Yorks Secret Frequency Crew & Gordon McQ from The Avalanches. In late 2005 SubAudible Hum released their debut full-length album entitled "Everything You Heard Is True". It was a dark, venomous abrasion on the guitar format that also managed to make time for sprawling sonic scenery and downbeat, melancholic intricacy. The record gained SubAudible Hum immediate national radio rotation including a spot on Triple J's Next Crop campaign. SubAudible Hum write from that mysterious void between emotive art and didactic thesis. The subject matter is always of paramount importance but never at the expense of listening pleasure, in fact SubAudible Hum may just have found the harmonious middle ground between the two. Any modern day themes of global politics, dirty economics, fundamental agendas, and social degradation are always communicated with music, never using it as a soapbox. Stepping into 2006 SubAudible Hum have a whole new take. Having purged much of their structural and self-imposed stylistic constraints the SubAudible Hum sound is now less definable than ever. Their sophomore effort "In Time For Spring, On Came The Snow" swings from drawn-out orchestral opuses to quasi-UK indie trash to dam bursting, almost trip hop anthems. With this release, as always, SubAudible Hum are exploring every crevasse of their musical ambitions.

COMING 9/8/2008
EXCLUSIVE.  Dark & brooding debut alt. rock masterpiece from this critically acclaimed Melbourne band. In late 2005 SubAudible Hum released their debut full-length album entitled "Everything You Heard Is True". It was a dark, venomous abrasion on the guitar format that also managed to make time for sprawling sonic scenery and downbeat, melancholic intricacy. The record gained SubAudible Hum immediate national radio rotation including a spot on Triple J's Next Crop campaign. SubAudible Hum write from that mysterious void between emotive art and didactic thesis. The subject matter is always of paramount importance but never at the expense of listening pleasure, in fact SubAudible Hum may just have found the harmonious middle ground between the two. Any modern day themes of global politics, dirty economics, fundamental agendas, and social degradation are always communicated with music, never using it as a soapbox. Stepping into 2006 SubAudible Hum have a whole new take. Having purged much of their structural and self-imposed stylistic constraints the SubAudible Hum sound is now less definable than ever. Their sophomore effort "In Time For Spring, On Came The Snow" swings from drawn-out orchestral opuses to quasi-UK indie trash to dam bursting, almost trip hop anthems. With this release, as always, SubAudible Hum are exploring every crevasse of their musical ambitions. “An extremely impressive Melbourne debut” Beat - Andrew Ramadge “21st century disillusionment expressed in the form of grinding guitars, marching drums, an astounding, impassioned voice, and a bass tone that can only be classified as heave machinery, this is the sound Fritz Lang surely had in mind when he created his Metropolis” Beat - Today is the day "Single Of The Week" - Daniel Z "Describing the voice as a mash of Jeff Buckley, Thom Yorke & Iggy Pop. SubAudible Hum, big, deep and melancholic without ever crossing over into self-indulgence" Lucky - Matty B "A profoundly eclectic first release fluently melding the emotional with the intellectual... a work of undeniable brilliance" Inpress - Shane O’Donohue

COMING 9/8/2008
EXCLUSIVE.  Format: DIGIPAK CD. Critically acclaimed sophomore album from Melbourne experimental pop outfit. Features hit singles "Sugarcoat", "All For The Caspian" & "Aaron's Western Assault". In late 2005 SubAudible Hum released their debut full-length album entitled "Everything You Heard Is True". It was a dark, venomous abrasion on the guitar format that also managed to make time for sprawling sonic scenery and downbeat, melancholic intricacy. The record gained SubAudible Hum immediate national radio rotation including a spot on Triple J's Next Crop campaign. SubAudible Hum write from that mysterious void between emotive art and didactic thesis. The subject matter is always of paramount importance but never at the expense of listening pleasure, in fact SubAudible Hum may just have found the harmonious middle ground between the two. Any modern day themes of global politics, dirty economics, fundamental agendas, and social degradation are always communicated with music, never using it as a soapbox. Stepping into 2006 SubAudible Hum have a whole new take. Having purged much of their structural and self-imposed stylistic constraints the SubAudible Hum sound is now less definable than ever. Their sophomore effort "In Time For Spring, On Came The Snow" swings from drawn-out orchestral opuses to quasi-UK indie trash to dam bursting, almost trip hop anthems. With this release, as always, SubAudible Hum are exploring every crevasse of their musical ambitions. • Aaron’s Western Assault, Sugarcoat & All For The Caspian all received high rotation on national youth broadcaster triple j. • Feature album on PBS radio, triple j (ABC), Forte magazine & Tsunami magazine. • The Age: #6 in top 10 ten albums of 2006. • Undercover: #7 in top 10 ten albums of 2006. • Tours of the USA & Europe are in planning for the release of their next record in 2009. • Worldwide marketing campaign starting spring 08 to coincide with worldwide retail push. ”The whole experience has left me speechless” Tsunami - 9.5 / 10 ”In Time For Spring, On Came The Snow is an entirely captivating and vastly rewarding listening experience” Forte ”The perfect soundtrack to a gloomy city at dusk” Mess+Noise ”In Time For Spring, On Came The Snow features driving rhythmic instrumentation tempered with pure pop bliss” Rolling Stone - 4/5

COMING 9/14/2008
Limited edition: 500. Order now as this is limited and will not be reissued. Mit Ohne is a sound documentation of an audio/visual installation by Yves Netzhammer and Steinbrüchel. The installation entitled “The feeling of precise instability when holding things” was part of the group exhibition “Wohnträume/Wohnräume” exhibited from 26.07. to 28.09.2003 at the Museum für Gestaltung in Zurich, Switzerland. The audio sections by Steinbrüchel where composed in sync with the visuals by Yves Netzhammer and succeed in translating and supporting the poetic vibrancy and slow morphing movements of the 3d rendered animation. For the exhibition an atmospheric fragile and detailed work was created involving a three-part projection and multichannel sound which conveys an abstract audio and visual approach to the environment surrounding us and the concept of a room itself. Each audio track takes the listener into a new form of “room” and simple patterns of single tones are layered into dense movements surrounding the listeners space. The crystalline polished sounds form a highly precise environment which interacts with particles of melodies searching for space to breathe. Between the tracks there are no pauses which gives the dedicated listener the feeling of being moved suddenly from one room to the other. Space and silence are sensitively woven into each other while forming an atmospheric and organic surrounding. Through the sound the feeling in every room changes from dark to bright, from large to small, from lonely to crowded, from silent to loud. Ralph Steinbrüchel, born in 1969, studied Communication Design at Central Saint Martins School in London, where he acquired a Masters of Arts and Design with distinction. He now lives and works as a musician and graphic designer in Zurich, Switzerland. In 2002 his composition «zwischen.raum» [Domizil, Zurich, 2002] was distinguished with the Max Brand Award for Electronic Music [phonoTAKTIK.02 Festival, New York]. In the same year he received a compositional scholarship from “Pro Helvetia”, Arts Council of Switzerland, to work on his release «circa» [LINE, New York, 2003]. Last releases were the collaboration «status» [12k] with Frank Bretschneider [raster-noton] from Berlin, the solo-CDs «stage» [LINE] and «basis» [room40] and in October 2007 the collaborational release «falte» [nonvisualobjects] with Bernd Schurer.

COMING 9/15/2008
Limited edition of 500 copies and packaged in a deluxe screen printed jacket with a clear spot gloss print. There are 5 different cover color variations each limited to 100 copies and containing a different color of vinyl. Packaged, like all Important releases, in a handy resealable Japanese poly-bag. Printed by Neil Burke at Monoroid. Steven Wilson - guitar / laptop andres solis - turntables rogelio sosa - voice daniel goldaracena - devices Recorded live at laboratorio de arte alameda in mexico city on 27th feb 2008. Collaboration with the live action / improv group from Mexico City PIG. This will only be available on vinyl and is the companion release to the Bass Communion record Moltov And Haze being issued on Important Records simultaneously.

COMING 9/15/2008
Seminal album that defined a genre and cemented Braid’s legacy - Frame and Canvas has been out of print on LP for several years. LP is on premium 180 gram vinyl and includes a digital download code.

COMING 9/15/2008
EXCLUSIVE.  File Under: dubstep, breakcore. From its symphonic opening to its sweeping heavy basses, Cakebuilder's second record for Ad Noiseam shows that things are still deep in Winnipeg. Bridging angry, dark dubstep and a highly melodic drive, Cakebuilder opens a new gate for the genre, where “dub” is replaced by something a lot colder and orchestral. Cinematic dubstep of the blackest shade.

COMING 9/15/2008
Limited edition of 500 copies. Limited edition of 500 copies on 180 gram vinyl. Originally released on cassette in 1984 and then on cd in an edition of 500. In 1984 Vortex Campaign invited Coil and The New Blockaders to collaborate. The result, unofficially referred to as “Dolbied”, was released on cassette in an edition of 50. The release has since gone on to become legendary, showcasing two of the most influential groups in the scene at the early stages of their development. “The Melancholy Mad Tenant” is an authorised release, sanctioned by all three groups. Formed in 1983 the output of Coil has ranged from the avant-garde, to experimental neoclassical, to extended excursions into pure electronica. Many bands and composers have cited Coil as an influence. Coil were mainly a studio group, but in 2000 they commenced a successful series of tours that proved to be extremely remarkable events. The New Blockaders began in 1982 with the release of the debut LP “Changez Les Blockeurs” which is cited by many as a defining moment in the history of noise music. TNB have gone on to influence a generation of artists from Japanese noise-maestro Merzbow to noise punks Wolf Eyes.

COMING 9/15/2008
Though Conifer has received quite a bit of critical praise they've somehow managed to live off the grid for the past six years. With Crown Fire Conifer is finally getting the exposure they deserve. Mixing post-rock, kraut-rock, metal and pschychedlia they have created this relentlessly driving and hypnotic masterpiece. Crown Fire's only vocals are from Oxbow's Eugene Robinson fronting the albums final 13 minute epic. LP version limited to 500 copies with 200 on color vinyl. Conifer has been writing primarily instrumental music with a lawless take on the styles from which they've taken cue. New content is found by way of augmenting brutality and suspense with time. Conifer seems to reckon with the notions of bands like Enemymine, Mogwai, or Grails while taking an approach toward their music that's entirely meditative (as opposed to premeditated). Minimal, ethereal passages are narcotically lengthened and crescendos of distortion are sustained well beyond the boundaries adhered to by many of their peers. "Heavy" by way of being beat/repetition heavy in not only a Shellac/Helmet sense but in a way that is practically reminiscent of electronic discipline. Crushing riffs amidst the most ethereal, minimal moments. Six years in, Conifer has emerged from their mind forest into the clearing that is the future and past. Band members have come and gone and come again. Crown Fire is the latest battle that Conifer has fought in the war of obtuse movement. Welcoming dense riffage washes over the listener for the first half of the record, referencing pan Asian themes and musical manifest destiny. The bombast that is their live show comes through loud and clear, intertwined with moments of delicate reflection. Without warning it all goes wrong, the mainframe explodes, the ships crash, the tide of despair and denial rises never to recede. Hailing from the capital of the heavy state of Maine, Conifer has an extremely close relationship with fellow travellers Ocean. These two groups have shared a lot over the years including members, tour transportation, practice spaces and members of the two groups grew up together in rural costal towns. Though different in sound they're quite kindred in spirit and obviously Conifer is essential for anyone who loved Ocean's Here Where Nothing Grows.

COMING 9/15/2008
Deluxe pressing of 500 copies packaged in letterpressed covers designed by Important and printed by 23rd Parallel. Mastered by James Plotkin. Hand numbered/hand assembled. Eleh's Intuitive Synthesis/Floating Frequencies Volume 3 is the third release in their Intuitive Synthesis series (Volume 2 was released over a year ago) and it is being released simultaneously with an Eleh/Pauline Oliveros split release. Both are limited edition and LP only. Meticulously minimal analog drone. Eleh was formed to specifically to pay tribute to early experimental minimalist pioneers especially La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. Using an enormous vintage modular analog synthesizer, a battery of glowing HP tube test oscillators and occasionally guitar/piano, Eleh creates highly minimal and deeply spiritual pure analog drone music with emphasis on the physical ultra-low end. Incorporating tones as low as .05 hz (well below the range of human hearing) Eleh is as much of a physical experience as it is an audio one. This engaging record was created as a tool for meditation and to be heard/felt correctly the listener must be sitting with ears at speaker height at least 7 feet away from the speakers. Volume reveals detail.

COMING 9/15/2008
Eleh: The Beauty Of The Steel Skeleton Pauline Oliveros: Drifting Depths Important Records quite pleased to be presenting this split release consisting of two new drone works from Pauline Oliveros and Eleh. Oliveros, an early American minimalist who has pioneered the technique of Deep Listening, has created a new work exlcusively for this release. Drifting Depths is a new improvised piece made on a harmonica being processed through Pauline's Expanded Instrument System. Eleh's side, also exclusive to this vinyl only release, is super slow melodic drone full of stillness, tension & relief. Vinyl only, handmade and handassembled letterpressed jackets. Limited edition. A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recording. Eleh was formed to specifically to pay tribute to early experimental minimalist pioneers especially La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. Using an enormous vintage modular analog synthesizer, a battery of glowing HP tube test oscillators and occasionally guitar/piano, Eleh creates highly minimal and deeply spiritual pure analog drone music with emphasis on the physical ultra-low end. Incorporating tones as low as .05 hz (well below the range of human hearing) Eleh is as much of a physical experience as it is an audio one. This engaging record was created as a tool for meditation and to be heard/felt correctly the listener must be sitting with ears at speaker height at least 7 feet away from the speakers. Volume reveals detail.

COMING 9/15/2008
in the late summer of 2006, jackie-o motherfucker- the infamous, shape-shifting, free rock constellation- were in their hometown of portland or. preparing for a cross country tour of the usa. when it was discovered that two of the four touring members, at the time, could not make the trip, due to financial situations, and problems getting away from jobs and domesticity. after some discussion, and re-grouping, they decided to continue on with the tour, and placed a call to eva salens (inca ore) who was doing agricultural work in the hills of humboldt county, ca. she eagerly accepted the challenge of conspiring with the group, lending her considerable skills as a vocalist, and it was decided that they would all meet at the great american music hall in san francisco, where the group were scheduled for their first appearance supporting the dirty three. there they would begin- unrehearsed in this formation, and in front of a large audience. the plans to perform material from their newest release "flags of the sacred harp" were scraped, and the band launched into a free form set of improvised trance inducing, punk inspired, psychedelic rock, which became the framework of the new music they would develop together over the next few years. with a backpack full of californias finest, the newly created touring group- consisting now of eva salens, tom greenwood, danny sasaki, and nick bindeman, continued on to los angeles, over the deserts, and through america. Freedomland, is a document of this trip, as well as another american tour, which the same band set off on the following spring... the record consists of location recordings, captured live, and mastered in the united kingdom. the songs were created from the spirit of improvisation- and honed true by performing nightly in dive bars, music halls, and art galleries across america. the music is a testament to creation, brave and searching, and an endorsement of the abstraction that lies hidden in the footprints of all great music... salens' vocal delivery is raw and honest, the words flow from conversations, to streams of sub-conscious conjuring, and prayer. guitars alternately soar into cloud-scapes, and battle like free-jazz saxophones, propelling the group into new terrain nightly, while the percussion of danny sasaki alternates between exploratory and dead-solid motoric. the collection was edited by tom greenwood, from dozens of live recordings, and captures a rare moment in the bands long, and confusing history. it is truly the music of everyday life- birthed each night in a new form, from musicians who put great faith in each other, under awesome strain at times, to project modern music, with soul. -tom greenwood, portland or. july 2008.

COMING 9/15/2008
The LP version of My Solo Project has been out of print for many years and is a must have for any Mates of State fan with a turntable. Originally released in 2000, My Solo Project remains the definitive Mates of State album to own. LP is on premium 180 gram vinyl and includes a digital download code.

COMING 9/15/2008
EXCLUSIVE.  avutma is the latest release by nebulo after the album kolia, two remixes for architect and hecq, and even freely available nebulo ringtones. the outstanding french artist thomas p. with this cd has created a closed opus that might be seen as a concept album in which the listener has to decide what the concept is. nebulo's subtle approach forms a complex fictitious scenery by using seemingly minimal resources that are more visible than ever. electronically treated instruments like organ and piano, combined with synth layers and modified beats generate tempers that range from surreal to melancholic or even nearly frightening. listening to 'avutma' is like walking in a dimly lit basement never knowing what's behind the next curve, and who or what is actually casting these shadows on the walls... nebulo's trademark, a connection between ambience, idm, clicks'n'cuts and post-musique-concrète collages is presented here once again. as a reviewer wrote: 'surreal dreamscapes painted with tears and sometimes even blood' - avutma might be the soundtrack of today's grand guignol.

COMING 9/15/2008
This Polyvinyl classic has been out of print on LP for nearly a decade. Look Now Look Again set the high standard for which Rainer Maria will always be viewed. LP is on premium 180 gram vinyl and includes a digital download code.

COMING 9/15/2008
EXCLUSIVE.  The Boutique Label presents the first ever reissues by cult Manchester band Spherical Objects, active between 1978 and 1981 and the core group on the highly collectible Object Music label. Formed by singer, songwriter and dj Steve Solamar in 1978, Spherical Objects produced a unique brand of what early champion Paul Morley termed ‘existentialist psychedelia’. Their third album, Further Ellipses, appeared in 1980 and featured a new, short-lived line-up of the group. The fourth and final album, No Man’s Land, was released on Object in October 1981. The band only played occasional live gigs, and preferred instead to concentrate on recording albums, releasing no less than four in as many years. Spherical Objects (and the Object label) ceased operations in 1981, after Steve Solamar resolve a lifelong contradiction by becoming a woman. As part of this process Solamar even destroyed his own mastertapes. Since then his music has rarely been heard, and the Object(s) catalogue has languished in undeserved obscurity. However an Object anthology has now been released as part of the Auteur Labels series on LTM, which includes rare non-album singles by Spherical Objects and its members. The artist formerly known as Steve Solamar is alive and well, and lives a happy spiritual and musical life. Also available: Spherical Objects : Past & Parcel / Elliptical Optimism (BOUCD 6614), The Noyes Brothers : Sheep From Goats (BOUCD 6615) (Steve Solamar & Steve Miro) (2xCD), Various : Auteur Labels: Object Music (LTMCD 2527), The Passage : Pindrop + Singles (LTMCD 2356).

COMING 9/15/2008
EXCLUSIVE.  The Boutique Label presents the first ever reissues by cult Manchester band Spherical Objects, active between 1978 and 1981 and the core group on the highly collectible Object Music label. Formed by singer, songwriter and dj Steve Solamar in 1978, Spherical Objects produced a unique brand of what early champion Paul Morley termed ‘existentialist psychedelia’. Their first album, Past & Parcel, appeared in August 1978 and predated releases on other Manchester post-punk labels such as Factory. The second album, Elliptical Optimism, was released on Object in October 1979. The band only played occasional live gigs, and preferred instead to concentrate on recording albums, releasing no less than four in as many years. Spherical Objects (and the Object label) ceased operations in 1981, after Steve Solamar resolve a lifelong contradiction by becoming a woman. As part of this process Solamar even destroyed his own mastertapes. Since then his music has rarely been heard, and the Object(s) catalogue has languished in undeserved obscurity. However an Object anthology has now been released as part of the Auteur Labels series on LTM, which includes rare non-album singles by Spherical Objects and its members. The artist formerly known as Steve Solamar is alive and well, and lives a happy spiritual and musical life. Also available: Spherical Objects : Further Ellipses / No Man’s Land (BOUCD 6616), The Noyes Brothers : Sheep From Goats (BOUCD 6615) (Steve Solamar & Steve Miro) (2xCD), Various : Auteur Labels: Object Music (LTMCD 2527), The Passage : Pindrop + Singles (LTMCD 2356).

COMING 9/15/2008
The LP version of Tecumseh's Avalanche And Inundation is pressed in an edition of 500 copies with the first 200 on color vinyl. Heavy drone/heavy meditation. Be inside the sounds. Formed in 2004, Tecumseh creates drone metal of the heaviest variety although with more forward movement than some of their peers and with the addition of cold electronic hiss. Using 2 basses, electronics, percussion and guitar Tecumseh wrap themselves and their listeners in a warm sonic meditative slow motion blanket woven from their skilled use of sound and space. Avalanche And Inundation was recorded in the winter of 2008 with Jeremy Romagna (Yellow Swans, Trees, Silentist). " This is the perfect metallic drifting off music, almost like they've discovered some new genre, sludge-ambient, doom-age, whatever you decide to call it, it's pretty amazing, and fans of all things slow motion,downtuned and yes, heavy will dig this big time." Aquarius "The sound is sludgy and the pace snail-like but subtle. Within its monochrome scheme of blackness,and yet more blackness as its slow, slow, riffs unfurl there are small variations in tone. Such is thehermetically sealed inwardly directed feel of Tecumseh's sound thatthese tiny variations are like tiny rafts in an otherwise empty sea. And in the end the listening experience isn't some feat of endurance but strangely calming, it's blackness like a vast lake of crude oil with only the faintest of ripples disturbing it's surface." The Wire

COMING 9/15/2008
The LP version of Tecumseh's Avalanche And Inundation is pressed in an edition of 500 copies with the first 200 on color vinyl. Heavy drone/heavy meditation. Be inside the sounds. Formed in 2004, Tecumseh creates drone metal of the heaviest variety although with more forward movement than some of their peers and with the addition of cold electronic hiss. Using 2 basses, electronics, percussion and guitar Tecumseh wrap themselves and their listeners in a warm sonic meditative slow motion blanket woven from their skilled use of sound and space. Avalanche And Inundation was recorded in the winter of 2008 with Jeremy Romagna (Yellow Swans, Trees, Silentist). " This is the perfect metallic drifting off music, almost like they've discovered some new genre, sludge-ambient, doom-age, whatever you decide to call it, it's pretty amazing, and fans of all things slow motion,downtuned and yes, heavy will dig this big time." Aquarius "The sound is sludgy and the pace snail-like but subtle. Within its monochrome scheme of blackness,and yet more blackness as its slow, slow, riffs unfurl there are small variations in tone. Such is thehermetically sealed inwardly directed feel of Tecumseh's sound thatthese tiny variations are like tiny rafts in an otherwise empty sea. And in the end the listening experience isn't some feat of endurance but strangely calming, it's blackness like a vast lake of crude oil with only the faintest of ripples disturbing it's surface." The Wire

COMING 9/15/2008
EXCLUSIVE.  Featuring the art of Tony Soares, this film is a beautiful journey through the ancient Native American process of paddle and anvil pot making. Every step is documented from digging the clay, making the pot, painting the pot and finally firing the pot in an open pit. The resulting images are a unique learning tool for the students of this lost art. Tony proudly builds pots using authentic methods right down to creating fire with a stick and working in a Native American environment. Features music throughout by Carl Roessler, Clive Wright and Harold Budd with narration by Anna LaCazio. Run time 1 hour 18 minutes.

COMING 9/15/2008
EXCLUSIVE.  27 tracks. LTM present a new volume in the ongoing compilation series Auteur Labels, here profiling cult Manchester imprint Object Music. Active between 1978 and 1981, pioneering Manchester post-punk label Object Music was founded by songwriter and deejay Steve Solamar to release records by his own group, Spherical Objects. Their first album, Past & Parcel, arrived in August 1978. Object soon began releasing records by other artists, many of them active in the Manchester Musicians' Collective. After singles by Spherical Objects, the Passage, Steve Miro, Grow Up, Contact and others, in 1979 the label took the unusual step of concentrating on albums, releasing 7 in 12 months. However Object Music ceased operations in 1981 after Steve Solamar corrected a lifelong contradiction and became a woman. Auteur Labels: Object Music compiles tracks from singles released between September 1978 and July 1980, as well as select album tracks. Tracklist: SPHERICAL OBJECTS the kill; SPHERICAL OBJECTS the knot; STEVE MIRO & THE EYES dreams of desire; STEVE MIRO & THE EYES queen of the sea; GROW UP river; GROW UP stay awake; GROW UP 10 minutes; ALTERNOMEN UNLIMITED façade; WARRIORS martial time/martial law; STEVE MIRO up and about; STEVE MIRO smiling in reverse; SPHERICAL OBJECTS seventies romance; SPHERICAL OBJECTS sweet tooth; CONTACT fascinated by time; CONTACT nite time; THE PASSAGE troops out; THE PASSAGE my one request; MANCHESTER MEKON the cake shop device; IQ ZERO insects; GROW UP joanne; GROW UP swept away; GROW UP GGGDADGADADAD; STEVE SOLAMAR forewarned; THE NOYES BROTHERS the mutant; THE NOYES BROTHERS decision time; ALTERNOMEN UNLIMITED connections.

COMING 9/15/2008
EXCLUSIVE.  ISBN: 9781906310103. CD41 is proud to present a new archive audio CD, Victoria In Europe, a unique collection of restored British actuality and broadcast recordings from the closing stages of the Second World War. An evocative double-disc set, Victory In Europe features 150 minutes of material covering the campaign in Western Europe, beginning with the ill-fated airborne assault at Arnhem in September 1944 and ending with the dramatic fall of Berlin and the surrender of Germany in May 1945. Specific events covered by these unique recordings include the Battle of Arnhem, the bitter fight for Walcheren island, the devastation of Cologne and other cities, the first Rhine crossing at Remagen, the destruction of V-2 launch sites, the main Rhine crossing in March 1945, the liberation of Belsen, the first meeting of US and Soviet troops on the Elbe, the deaths of Hitler and Himmler, and fall of Berlin, and the final German surrender. Like our previous volume on D-Day, Victory In Europe features many first-hand contemporary accounts by serving personnel, including paratroops, commandos, tank crews and fighter, bomber and glider pilots. Notable military personalities include Field Marshal Montgomery, Winston Churchill, General Eisenhower and General Roy Urquhart, the British officer commanding at Arnhem . War correspondents include Ed Murrow, Stanley Maxted, Chester Wilmot and Richard Dimbleby, whose shocking report from the concentration camp at Belsen in April 1945 is heard in full. All materials are authentic wartime recordings digitally restored and remastered for CD. The booklet includes archive images and detailed historical and recording notes by James Hayward. Victory In Europe may be regarded as a companion volume to the earlier double CD set D-Day and the Battle for Normandy (CD41-014). Also available on CD41: British War Broadcasting (CD41-004); D-Day June 1944 (CD41-014); RAF Bomber Command At War (CD41-013); The Battle of Britain (CD41-021); The Blitz (CD41-027); Dunkirk (CD41-28); USAAF At War (CD41-029).

COMING 9/22/2008
A step into the void" is how Grubbs (GASTR DEL SOL) describes his first solo album since 2004. Here Grubb's presents five longish songs & one eleven-minute instrumental floor rumbler, and the album can't be said to fall in either a pop or experimental genre. Much like Gastr Del Sol's recordings, arrangements take their own sweet, otherworldly time to unfold, and you're likely to discover that the undertow is stronger than you reckoned & that you wind up a disorienting distance from where you began.

COMING 9/22/2008
EXCLUSIVE.  The unbelievable Disco Opera, starring Kool Dj Dust. Dust has sampled and edited together super obscure materia into perfect disco rocks, which he dramaturgically arranges into a galactic drama, visualised as a comic strip. Bringing to mind Idjut Boys, Pilooski, Rune Lindbaek and Radio Soulwax, Dust's just as unique, crate digging genious and partymanic but with a disco flavour to it that will roll like a mirrorball around the globe. A Kool Dj Dust mix will be on Beats In Space in September. Support from Tim Sweeney (DFA), Erol Alkan, Aeroplane, Tode Terje, Tensnake, Skull Juice, Rune Lindbaek etc.

COMING 9/22/2008
Adrian Michna found his way as a DJ under his EGG FOO YOUNG alias, earning him an URB "Next 100" nod in the process. Production gigs for Bonde do Role & Diplo followed, allowing Michna to put his deftness at both the drum machine & the trombone to good use, creating tracks out of dense blankets of sound & texture. Apart from the tightly woven musical amalgam of hip-hop, booty & electro, it's the detailed process that makes Michna's debut album move. Perhaps the most exciting aspect of the album is its rich element of musicality; in an era when hip-hop tracks have devolved into two-note keyboard loops, songs like "Skunk Walk" live up to their name with full-bodied funk & live horns. When Ghostly owner, Sam Valenti IV, asked Adrian which samples to clear, Adrian replied, "What samples?"

COMING 9/22/2008
Milosh makes music for the mind, body & spirit. Introspective, intimate, sensual electro-folk steeped in perfumed melancholy & luscious romance. Combining beats, samples, guitars, strings & the most silken falsetto voice since prime-time Smokey Robinson, the third Milosh album iii takes the listener on an emotional journey through an exquisitely beautiful musical landscape. The tracks on iii combine the best of both Milosh’s cerebral electronica & soulful singer-songwriter sides, stirring deep emotions with lush arrangements, honeyed vocals & delicately deconstructed beats. From the softly weeping strings of “Another Day” to the weightless, airy melancholy of “Gentle Samui,” many of these tracks come in various shades of blue.

COMING 9/23/2008

COMING 9/23/2008
Former bassist & vocalist with space-rockers JESSAMINE, Dawn returns with her second solo album. Guests Ray Raposa (Castanets), Bill Herzog (SUNN O))), Jesse Sykes & the Sweet Hereafter), David Farrell (Southerning, Locate, Module), & Jussi Brightmore (Chrome Hoof, 1000 Pets,) add extra grit, grain & space, creating a heady cocktail of sounds. Where Smithson's first album was wounded & tentative in it’s approach, Earth Machine is strong & sure of it’s footing. Where there was deep melancholy with a glimmer of hope in the former, the latter reaches it’s winding paths out to further hills & valleys, encompassing a wide range of emotion. Songs seem to tell one long story as they segue into one another. From the rounded nylon string guitar picking & gurgling synths to the pure feedback drones & sometimes Floydian electric guitar, Earth Machine has real continuity & a strong sense of being a true "album”.

COMING 9/23/2008
Donovan's steadily growing reputation as a first rate darkly romantic penman (thanks to contributions to The Skygreen Leopards & solo as Verdure) has culminated with his latest endeavor. Rather than aping or ducking genres, Quinn has crafted a bright spectrum of songs best described as 'American.' Xian folk, languid indie pop, VU cool, loner country & west coast psych are touchstones, with Quinn's singular lyrical abilities & taste for sun-baked song steadily at the fore. Ever the flower bed romantic, Quinn has – at the risk of over-simplification - written a classic "break-up record;" albeit filtered through surrealistic tenderness & riddled with red herrings & feelings of betrothal. Though not exactly lost in a sea of scarves, Quinn is indebted to the vulnerability, humor & bitterness present in the works of Ronnie Lane, Skip Spence, Nikki Sudden & Basement Tapes-era Dylan.