Fred Thomas – Ridiculous Landscapes (2018)

“Fred Thomas had been making music nonstop for years when a seismic shift in his creative process happened in 2013. Something mystical opened up in the fall of that year and the prolific songwriter moved from his already emotionally open style into an unprecedentedly direct and vulnerable lyrical approach as well as new levels of detail-fixated production. The songs took on ​a ​new urgency​, inspired by a feeling that life was beginning afresh while at the same time a lifetime of experiences were cementing into worlds of memory.​ ​The results of that creatively eruptive time began with 2015’s critically hailed album All Are Saved, continued into the turbulent pop of 2017’s Changer and now ​float​ into Aftering, a record that feels like the final chapter of an unofficial trilogy.”Bandcamp

decker. – Awake (2018)

“In the simplest terms, decker. is a singer/songwriter based in Sedona, Arizona. A more apt description would be musical mystic. He, himself, describes his sound as “psychedelic desert folk,” drawing inspiration directly from the vortexes of the red rock mountains and canyons where he resides—an area so widely renowned for its cosmic energy that millions of spiritual travelers flock there every year in an attempt to harness its power. With a handful of self-released recordings to his name that have garnered praise from KEXP, Magnet Magazine and No Depression among others, decker. signed with revered independent label Royal Potato Family in 2017 to release a 10-song retrospective entitled ‘Into The Red.’ In 2018, he returns with a full-length collection of new material, ‘Born To Wake Up.’ Where previous albums have leaned darker in mood and content, the latest finds him maturing in his artistic viewpoint, offering glimpses of optimism and light across a range of songs like “Awake,” “Smudge” and “The Matador.” Glide Magazine recently wrote, “decker. is one of the country’s most criminally underrated songwriters.” With the release of ‘Born To Wake Up,’ that should all be changing.”

Buck Jam Tonic – Old Dragon (2003)

Bass – Bill Lazwell*
Drums – Tatsuya Nakamura
Mixed By – Bill Laswell (tracks: 2-1 to 2-3), Tatsuya Nakamura (tracks: 1-1 to 1-5)
Saxophone – John Zorn

“Buck Jam Tonic is a double album of improvised music by John Zorn, Bill Laswell & Tatsuya Nakamura released on the Japanese WildDisk label in 2003 and consists of one disc mixed in Tokyo and another mixed in New York City. A vinyl edition was also released containing only the Tokyo mix” Wiki

John Zorn – End Title (from ‘White And Lazy’) (1986)

“Film Works 1986-1990 opens with John Zorn’s first film score, White and Lazy. In just under ten minutes comes small capsules of instrumental punk, rockabilly, dark ambient, nightclub jazz, until “End Title,” with vocals by Arto Lindsay, and soloing by Robert Quine (of Lou Reed’s band), who Zorn regards as “a punk guitar genius.” The other musicians on these first six tracks are bassist Melvin Gibbs, reeds player Ned Rothenberg, harpist Carol Emanuel, keyboardist David Weinstein, and drummer Anton Fier.” Allmusic

Oh Sees – Anthemic Aggressor (2018)

Taken from: Oh Sees – Smote Reverser (Castle Face, 2018)

“The word smote is the past tense of smite: to hit, to strike, to attack. If there’s one thing the latest album from the latest incarnation of John Dwyer’s Oh Sees does, it’s that—smiting and smoting all over the goddamn place. But while there’s always an attack, an aggression, a precision to every second of Smote Reverser, the psych-rock turned every-genre-imaginable outfit explore all kinds of territory over the album’s 11 tracks, as variable takes on ‘70s prog rock and proto-metal morph into Dwyer’s own unpredictable brand of acid-rock-free-jazz-fusion.” Paste

White Denim – Magazin (2018)

“They blast the record open with the darkly seductive glam of “Magazin”, which rolls like Bolan, punches like Cream and glides like Bowie. The taut but supple rhythm bounces and bobs along, supported by saucy chords and jaunty brass. After a couple of minutes, a head-banging strut appears front and centre, and you’re left waiting for a ripping guitar solo that never appears. Restraint never sounded so good.” Source

Uniform – The Walk (2018)

“Uniform attempt to make a visceral connection with their listeners on The Long Walk. Part myth and part autobiography, the New York City duo’s third effort focuses on the virtues and punishments derived from capitalism, a concept that vocalist Michael Berdan also ascribes to his formative years as an altar boy. Time has allowed Berdan to pause and reflect, to remove himself from the ugliness of organized religion without renouncing the goodness that his faith also provides to many people.” Source

Mark Lanegan & Duke Garwood – Save Me (2018)

“With Animals is a collaborative album, one where Lanegan shares the credit with his regular collaborator Duke Garwood. Garwood and Lanegan have spent about a decade working together, with Garwood helping out on Lanegan albums like 2017’s Gargoyles. The new album has a decidedly electronic bent. And on the smoky, effective first single “Save Me,” we hear Lanegan growling over organ sustain that reminds me of Suicide.” Source

Carla Bozulich & Freddy Ruppert – Glass House (2018)


“Carla Bozulich is diversely experimental, uncompromising and continues to be ceaselessly devoted to mixing art-punk ethics and creativity. Here, with Quieter, is an intensely emotive, intuitive, enchantingly cohesive collection of previously orphaned and one-off tracks where, uncharacteristically, nothing ever quite screams. Carla’s way with a fleshy edge remains sharp as ever. A couple of these are left over from the bountifully productive sessions from her brilliant and widely-acclaimed 2014 album Boy; others featuring collaborations with the likes of Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, Shahzad Ismaily and more.” Bandcamp