Deer Tick – Too Sensitive for This World (2019)

“Deer Tick release a new compilation album entitled ‘Mayonnaise’ – an 11-song companion piece to last year’s full-length albums ‘Deer Tick Vol. 1’ and ‘Deer Tick Vol. 2.’ and contains two bonus tracks (available on the bonus vinyl 7″ inside the LP sleeve)

The band explains: “On ‘Mayonnaise,’ you’ll find alternate versions of songs from ‘Vol. 1’ & ‘Vol. 2’ that we feel have their own merit and wanted to share. We also decided to record some of the cover songs that ‘Vol. 1’ & ‘Vol. 2’ inspired us to play on our Twice Is Nice Tour. We had such a good time playing these covers live that it felt appropriate to document them here. And, lastly, if we are going into the studio, why not write a few new songs, record them, and give the fans something new to round everything out? So, here you go, this is ‘Mayonnaise.’”Source

Mattiel – Bye Bye (2018)

“I’m not sure at what point ‘Tarantino’ turned from a famed director into a genre of music, but here we are in 2018 with a record that can comfortably be described as peak Tarantino. ‘Mattiel’ is a familiar cocktail of dusty horns, dustbowl blues and Dusty Springfield-style ’60s pop that almost screams out for accompanying widescreen vista or Mexican standoff. There’s even the odd production choice of ending songs while they’re in the process of fading out, as if to cut to the next scene.” Source

Herman Dune – Life On The Run (2018)

“New Album SANTA CRUZ GOLD, out Dec 2nd (Hanukkah, Night#1)
Directed by Mayon Hanania
Edited by David Ivar
Art Direction by Mayon Entirely shot using the Instagram Story App
Written by David Ivar
Guitar & Voice, Drums, Electric Bass by David Ivar
Pedal Steel Guitar by Spencer Cullum Jr (Steelism)
Saxophone by Jon Natchez
Harmony by Mayon
Produced & Recorded by David Ivar at Santa Cruz Studios in San Pedro, California
Mixed by Adam Selzer at Type Foundry in Portland, OR
Mastered by David Ivar at SCR
Cover artwork by David Ivar
ⓒYaya Tova 2018 ℗Santa Cruz Records 2018
Thanks to David Berman for Moral and Lyrical support
Features art by Adam Green, Amalia Angulo Alvarez, Matt Gordon, Scott Pollock, Scott Aicher, Steve Keene, Mayon Hanania and Yaya Herman Dune”

Bryan’s Magic Tears – Ghetto Blaster (2018)

“A record that recalls what it is to miss the last train of the day and realize that we are just missing enough to buy a ticket for the next day. A disc evident, indestructible, lunar, romantic, arrogant, phlegmatic and disillusioned. In short, a record for which we would like to be 18 years old again. For how many groups would we be able to say that today?” Born Bad Records

Richard Lloyd – Fire Engine (1987)


“Recorded live on April 21 and 22, 1987 at CBGB’s in New York, this is much more than a live best-of album by the “other” star to emerge from Television. Richard Lloyd has always stood — undeservedly — in the shadow of Tom Verlaine, sort of a Gene Clark to Verlaine’s Roger McGuinn, and for reasons difficult to fathom, his solo career has never taken off. Lloyd’s and David Leonard’s guitar playing is in absolutely top form here, and his voice makes a fine instrument, at least on-stage, whether he’s covering an old Thirteenth Floor Elevators number like “Fire Engine” or his own “Alchemy.” Highlights include the killer ten-minute “Field of Fire” (on which the two guitarists more or less rip the envelope with their extended duet jam); the vocal and lyrical showcase “Pleading” makes for a perfect follow-up number and for a fine presentation of Lloyd’s singing (as well as the crunchy, twisting post-folk-rock guitar that he helped perfect in Television). The sound is excellent throughout.” Allmusic

Mick Harvey & Christopher Richard Barker – Further Down The Line (2018)


“Mick Harvey is best known as a long-time collaborator with Nick Cave and PJ Harvey, but he has also released several solo albums and is a founding member of The Birthday Party, The Bad Seeds, The Boys Next Door, and more. Author Christopher Richard Barker, on the other hand, created the character of Bourchier and his poetry while crafting his novel The Melancholy Haunting of Nicholas Parkes, and then approached Harvey for help with arranging the scores. The result is a powerful and moving fictional narrative that captures the horrors of war on using both micro and macro perspectives.”Source