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Artist: (NEW ENGLAND) PATRIOTS/PALBERTA
Title: The Thirteen Kisses EP
Format: 12"
Label: Feeding Tube
Country: USA
Price: $18.00
Edition of 250. Plays at 45 RPM. "Released to coincide with a tour shared by these two monsters of the uncharted North, Special Worship is only the second vinyl dab by Bostons (NE) Pats, and the first wax by the Hudson Valleys Palberta. The (NE) Pats revel in squealing feedback, raunchy spuzz-riffs, and mutable vocals that make me think of a cross between the Cows and some weird Texas just-pre-core punk bands whose names I cant recall. Rough, woozy and powerful, even though the trio sports no bassist, the (NE) Pats (who previously shared a split with Skimask) are headed straight for the lips of the vom/munge tornado. And youre invited! On their side, Palberta display a different grasp on trio dynamism. They take the primitive, rumpus-room antic-punk of their cassette [reissued on vinyl as FTR 168LP] and plow it straight into a mound of no-wave snot. The results are drippy, off-center, and bizarrely attractive. By the time they start their nursery-rhyme collage they recall such form-destroyers as Aunt Sally and even Arthur Doyle (check out his killer take on Are You Sleeping from The Songwriter). Heard together, these youngsters swing like motherfuckers. Should be a fine tour." --Byron Coley, 2014.

Artist: ALVARO
Title: Drinkin My Own Sperm
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Beautiful reissue of the 1977 debut solo LP by Alvaro -- the Chilean with the Singing Nose. Alvaro Peña-Rojas was an advertising exec who ended up living in a squat in London when he chucked his professional career to fulfill his dream of being a musician. Rooming with he-who-would-become Joe Strummer, Alvaro was a founding member of the squats pub-rock band, The 101ers. After the Pistols opened for The 101ers at the Nashville Rooms, Strummer felt like he was destined to become a punk, and founded The Clash. Alvaro took his own trio into the studio (along with singer Cathy Williams, then in Red Balune with her boyfriend, Geoff Leigh) and used his savings to record Drinkin My Own Sperm, which he then had pressed up on his own Squeaky Shoes label. The music is a mad mélange -- like Andean lounge music in parts, like berserk early Eno in others, and filled with the strange joy of Alvaros keyboard inventions throughout. The albums title-track -- which Alvaro has long claimed was an ode to his lonely existence in London -- strikes us more like the move of a canny marketer. Because of its title, the record was banned on the BBC and often noted in contemporary mainstream journals as yet another sign of the disgrace that was punk. Of course, we leave the ultimate decision to you, but one has to wonder. This new release has both the lyric insert that accompanied the second pressing back in 78, as well as an historical booklet penned by Brian Turner (of WFMU) and Byron Coley. 800 copies were pressed." - Byron Coley, 2015.

Artist: ALVARO
Title: Mums Milk Not Powder
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"First vinyl reissue of the second LP released by Alavaro Pena originally released in 1979 following the runaway success of his debut album, Drinkin My Own Sperm (FTR 174LP, 1977). Although recorded in Germany, Alvaro again employed his regular drummer, Antonio Narvaez, with a few assists on the second side from Hilde Schneider, Alvaros then-wife. The first side was recorded by a German engineer, Olaf Dung, who carried his rig around with him in his briefcase. How this exactly worked is unclear, but the music is great and includes some of Alvaros most classically catchy tunes. Lili Dwight is a long-time fan of “Honey,” which she often sings aloud at apiary gatherings. Ted Lee does the same when crashing La Leche League outings to the strains of “Mums Milk Not Powder.” And so on. Alvaros second album is just the sort of thing youll be happy to use for a personal soundtrack, regardless of your politics or trajectory. Apparently, however, Alvaro and Mr. Dung had a falling out before the albums second side was completed, which meant there are some ad hoc compositions added to finish out the record. Primary among these are “Brown Loaf,” something of a baking tutorial conducted whilst Drinkin My Own Sperm plays on a nearby radio, and “Washindishes,” which is one of the few tracks to ever document extended nose flute improvisations." -- Byron Coley, 2016. "Alvaro rides again." -- Sounds, London, 1980. "A fabulous collection of musicals and unmusicals, includes a recipe." -- Time Out, London, 1980. Another classic piece of the mysterious puzzle that is Alvaro. Miss it at your own extreme personal peril. Edition of 400." - Feeding Tube.

Artist: AMBERGRIS
Title: Anti-Matter Alma Mater
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Vinylization of the superb oddball cassette originally issued by the Potlatch, I Gather tape label in 2008. Ambergris is more or less the solo project of visual artist Matthew Thurber (1-800 MICE, etc.), although he is aided in this instance by Rebecca Bird. The suite of songs presented here is something like a theatrical recreation of one of Thurbers bizarre-world comics. Using voices, Casio, various Garage Band inventions and his own surreal imagination, Thurber takes us to a 10,000 year class reunion of the students of a space/art/science academy, from which our hero may have been physically expelled some millennia earlier. The first side focuses on the storyline, with music taking an incidental role. Something like the radio plays of Firesign Theater, it gets more brilliant as your high intensifies. The flip contains songs which have a vague similarity to some of the antic bands of the SF underground of the mid-1980s, if they had recorded themselves in SFs legendary Musee Mecanique. Housed in a lovely silkscreened cover of Thurberian design, Anti-Matter Alma Mater is the best of comics-based music to have traveled your way since Gary Panters last LP. Truly whipped. Buy or, uh, die." -Feeding Tube.

Artist: ARN, ERIC
Title: Orphic Resonance
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Near the end of his days, John Fahey told me he was sick and tired of solo guitar records. This statement was partly designed to take me aback (as was often his tact), but it was also true. He seemed genuinely bored by most guitar players, especially those who were traveling in the shoes hed first worn on his own early records. That said, Im pretty sure he would have loved Eric Arns Orphic Resonance. The first time I ever saw Eric play was as part of the classic second line-up of Crystalized Movements. He was a monster of raunch-stun binary-functionalism, and this continued as he moved out of New England for forays with the LA/Boston/SF/Austin/Vienna-based Primordial Undermind and Californias The Outsideinside. After that, he moved to Austria, where he lives today, and began performing and recording in a more overtly avant-garde direction. The set I caught at 2015s Festival Of Endless Gratitude in Copenhagen was a lovely buzzing, shimmering web of sound. Parts of this new LP are like that, other parts are absolutely different. On Orphic Resonance, Eric moves through vast style fields with absolute surety. He can generate massive drone-throbs that would make even that old crank Fahey smile. He can play with sound sheets in a way that moves even deeper into experimental realms. He can play acoustic fantasia sprawls that would have made Fahey swear. He can throat sing better than John ever did. Making for one hell of a dandy album, and one that has a surprise lurking around each and every corner. This is the first of Erics solo sides to make it to vinyl, and we sincerely hope there are many more to comes. Discerning listeners are sure to say the same." - Byron Coley, 2016. Edition of 300.

Artist: ASIAN WOMEN ON THE TELEPHONE
Title: You Have Reached Your Destination
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Feeding Tubes second LP by Moscows AWOTT is another wonderfully perplexing roll in mounds of candy straw. As with their first FT LP, Ivan (FTR 129LP, 2013), there are many sounds here to put one in mind of early 80s experimental rock bands from the German scene. No one would be shocked to learn this was a lost Zickzack or Pure Freude release. But it aint. AWOTT are near the vanguard of some very happening sounds emanating from the Russian sub-underground. Random sonic factors this time include blaring Contortions-oid sax/bass skronk-lock, unexpected blurts of glitch, air raid panic, Japanese thump-mannerisms, and lots of other glub, all placed amidst a frame that is decisively Eastern Bloc. It makes for a splendid roil. For your additional pleasure, the album is packed in an eye-easy cover that reminds us of the photo on the back of Hot Poops Does Their Own Stuff!, but without the irksome gender reassignments. Still hoping AWOTT can get over here to play some day. We hear their live shows are ecstatic explosions of Dada-shingles (and YouTube vids seem to bear this out), so start yr petition today. And no one asked, but we thought we might point out the bands name is taken from a Sun City Girls track released on the ass-wide Box of Chameleons set Abduction did back in the last century. As The Residents once said, Ignorance of your culture is not considered cool" --Byron Coley, 2015. Edition of 350.

Artist: BACHMAN, DANIEL
Title: Grey-Black-Green
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
“2015 repress on white vinyl. First vinylization of the 2011 CD-R release, with which Daniel Bachman shucked the performing name hed been using (Sacred Harp) and laid his naked ass on the line. Bachman already sounds like a wizened player here (an image that was solidified when his mug was plastered on the box for Tompkins Squares "Obscure Giants of Acoustic Guitar" trading cards), but he was actually still a babe of the Fredericksburg woods at the time this came out. Regardless, his technique is massive, and his approach to the material -- based on a color-wheel tuning system developed by the late Robbie Basho -- is intense. Recorded onto a boom-box, with a hi-fi quotient of nil, the material here reminds one of what Bill Orcutt might sound like if he decided to play in longer format time-chunks. Theres a wonderful kind of containment to the music -- suggesting deep investigation and improvisation with hermetic knowledge rather than anything constrictive -- which gives this album a sense of spirituality one rarely finds outside the New Age bin. Bachman is a master player, and the evidence of this is apparent even at this relatively early stage of his trajectory. Through constant touring and wood-sheddding, Daniels music has evolved in multiple directions over the intervening years, but Grey-Black-Green remains one of the true and unique high watermarks of his recordings. How great to have it on vinyl at long last. Includes a download code.” - Feeding Tube.

Artist: BACHMAN, DANIEL
Title: Miscellaneous Ephemera and Other Bullshit
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"First off, the cover. Lets make it clear -- this was totally Daniels idea and is based on the original art for Tony Rices California Album (Rebel SLP-1549, 1975). Why? We cannot say exactly. The album is considered to be in Rices all-time top five. But so what? Who amongst us can claim to have fully plumbed the depths of Bachmans mind? The guy is a genius and those types just have their ways. So shut up about the cover already. This album itself was released under the title Daniel Bachman by an English label -- Lancashire and Somerset -- in 2014. But copies evaporated like moms milk, so heres a sonic jug from which we can all suckle with warm ease. Miscellaneous Ephemera is an amazing record -- filled to the brim with music that extends the concept of acoustic guitar manipulation beyond the range of mere vaseline machine guns. The pieces range from disruptive scrambles and neo-Tuvan throat aktion worthy of late-period Fahey to Kabra-style ragas and the more easily-anticipated particles of primitive guitar brilliance. There is also some adult content on the second side, so radio programmers -- be alert! Bachman has been a growing force in the acoustic underground for a few years now, and this new one really rips a new hole in the side of the styles star-cluster. Join forces with it today. Or else" --Byron Coley, 2015. Edition of 500.

Artist: BELIEVERS, THE
Title: Memo From Otter
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"The Believers were, in many ways, the flagship band of the Apostasy Recordings empire. Their roots were in the Hampshire College-based experimental outfit, Son Of Earth - Flesh in Bone Trio (generally shortened to Son Of Earth), via Matt Krefting and John Shaw. Also on board were Anna Klein (player with many woefully under-documented ensembles) and Jessi Swenson, Esq. (who was associated with various Scott Foust projects, and would go on to 50 Foot Women). But much of this other work was abstract weirdo-ism. The Believers were, more or less, a rock band, and they kinda fucking ruled. They recorded an album for Ben Chasnys planned label almost a decade ago, but the release never ended up happening, and the Believers split into their component parts not long afterwards. But our memories of their throbbing presence and carefully planned wardrobe choices would overwhelm us some nights, and wed find ourselves startled awake, covered with sweat, thinking we had missed several important boats by not documenting their passage in the proper way. In the intervening years, the four Believers have gone off to different pastimes. Some are related to music, some are not. And it took some wheedling on our parts, but we finally got this live LP out of them. And it cooks. One side was recorded in 04 at the old Flywheel in Easthampton, and provides a rather clear portrait of their sweetly thuggish pop dynamism. The flip was recorded at the same venue in 06, with guest squeedle provided by Conrad Capistran and Joshua Burkett (aka Tarp). Although we often think of Tarps sound as retiring, here it is aggressive. And it adds a strangely perfect width to the droogly and angular lurch of their inventions. A beautiful album. Long overdue." - Byron Coley, 2016. Edition of 400.

Artist: BENE GESSERIT
Title: MuLTiLiNGuaL SaD SoNGS, WeiRD JoKeS aND eXPeRiMeNTaL STuFF FoR uSe By GRoWN-uP CHiLDReN
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Back when Dennis Tyfuss was still a goddamn baby, Alain Neffe and Naine Bal were already staining the Belgian soul with recordings released under the Bene Gesserit moniker. But here we are in 2013, and now, finally, the first U.S. vinyl issue of this material has become available for human consumption. The performing name may have been copped from one of those priestess/nun types in Frank Herberts novel, Dune, but Bene hews to none of the known priestess/nun-ic forms of sound. There are admittedly, some space-whispers, but they quickly resolve themselves into something more annoying/interesting, so they manage to feel a piece with the weird lashing-out of this LP. Because, really, the basic thrust of the album is combative, maybe overly aggressive, even. Working on the assumption that normal sucks, Bene seems determined to take this motherfucker apart at the seams. Language, electronics, standard-type music -- these are all mere tropes to be dismembered and re-sorted into some new type of standard. A standard that is oriented towards a discordant attack on standards, even when -- at moments, anyway -- it can sound as sonorous as a ride in a chapel-bound calliope. But wherever safety seems to lurk, there is a groaning troll somewhere underneath, a despot keen on wrecking easy pleasure and easy surcease. Bene create superbly disturbing music. That we have come to it so late in this country, is a typical oversight. But we beat Tyfuss. Edition of 300." -Feeding Tube.

Artist: BIG BLOOD
Title: Radio Valkyrie +1905 + 1917+
Format: Double LP
Label: Feeding Tube
Country: USA
Price: $24.00
"This is only the second proper full-length LP by this Portland Maine-based duo, although there are vast arrays of CD-Rs and split releases littering their wake. After spending time with both the cosmically-shifting Cerberus Shoals and the folkily psychedelic Fire On Fire, Caleb Mukerin and Colleen Kinsella decided to opt for something more personal and hermetic. Thus, we have Big Blood. The bands multi-phasic discography has thus far reminded people of everything from the Pärson Sound to Opal to Portishead at different moments, yet none of these thumbnails comes close to capturing the elegant mystery of their essence. Sometimes electric guitar lines weevil hauntingly in the aether while acoustics strum quietly up front. At other points, muted chimes of freedom push against vocals and cloppety rhythms that recall White Noises "Making Love Without Sound." Still others vibe early Comus or The Third Ear Band. In all, the scent of smoke hangs as heavy over this record as any weve heard. And friend, weve heard a few. Edition of 500; includes download code." -Feeding Tube.

Artist: BIG NECK POLICE
Title: Dont Eat My Friends
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Second vinyl LP by this Brooklyn/Philadelphia trio, with guitarist Paco Cathcart (The Cradle, Sweet Baby Jesus, Shimmer) who has long worked in the studio with Palberta. The other players are Mac Kelly(Suspekt) and Hugo Stanley (Palm). Together they constitute a bizzaro world power trio, whose sound swings between the tenseness of math-rock and the aggressive slackness of bedroom experimentalism. Some of what they do reminds us of Fat Worm of Error at their most hardy, but thats just a part of the whole. What Big Neck Police create is almost a collage of textures as much as a suite of songs. But then, I suppose you could say the same of Mars. Amps buzz, drums clonk, guitars make noises like squirrels and vocals weave through the air as though they were wearing stirrups. Its enough to make you yearn for the days when they still raced horses on the ghetto streets of Philly. This is the sound of young gentlemen in a panic. Enjoy it at your leisure." - Byron Coley, 2016. Edition of 300.

Artist: BLANCHE BLANCHE BLANCHE
Title: 2wice 2wins
Format: LP
Label: Feeding Tube
Country: USA
Price: $29.00
"Brattleboro, Vermonts Sarah Smith and Zach Phillips have dropped another absolute bomb. The music here is so good, Feeding Tube Records couldnt resist releasing it on vinyl, even though their Our Place LP was already in production. Exquisite songcraft, cunningly rhythmic arrangements and Sarahs lilting vocals give the songs here a deceiving lightness, almost like a 21st century Gilberto/Jobim collaboration. The more you play it, the deeper it will cut. A perfect record for summer, with an engraved B-side, courtesy of the youngest members of Team Feeding Tube: Addie C. and Coco M. Also available as half of a cassette split with Bruce Hart on Blanche Blanche Blanches home-label OSR Tapes. No EQ. Bass by Danny Bissette. Edition of 200." -Feeding Tube.

Artist: BLANCHE BLANCHE BLANCHE
Title: Our Place
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"No effects, EQ or noise reduction were used in the making of this album, the fifth by this fantastic Brattleboro duo. Sarah Smith and Zach Phillips (aka Bruce Hart, Jordan Piper Philips, Nals Goring, etc.) assemble mostly keyboard-oriented skeletal pop gems from the softest imaginable bones. Sarah Smith sings like a torchier version of the Young Marble Giants Allison Stratton, singing lost fragments from the Randy Newman Songbook. Smiths guitar playing seems effortless but planned out with a true heart. Its an incredible combination that always pulls itself back from the brink of potential cutesy-pieness with genuinely unexpected moves and a fully brilliant manner of constructing songs. A surrealist cocktail masterpiece from the upper reaches of the Connecticut River Valley." -Feeding Tube.

Artist: BLOOD QUARTET
Title: Deep Red
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Debut LP, following a cassette, by Mark Cunninghams latest unit, Blood Quartet. Based in Barcelona, the mostly-instrumental band plays insanely great avant garde rock music, with Marks electro-Miles trumpet spread across the top like brass icing. Cunningham has been based in Spain for many years now, and his groups there (Raeo, Bestia Ferida, etc.) have been excellent, but Blood Quartet seems like the apex of a musical quest he started with Don King, following the dissolution of his legendary NYC band, Mars. The music they play has a similar cinematic scope to the material Mark composed for his 1997 solo album, Blood River Dusk (FTR 098LP). But where that album created an ominous soundtrack for living, Blood Quartet makes an explosive syncretic fusion. Angular no wave guitar lines weave through bass-heavy rhythms, and Marks trumpet achieves something akin to what Chet Baker might have done if hed flipped out and gotten into the French acid scene in 68. Light, strangely wound tones that really dont sound like anyone else I can name. Candid Colls post-tongue vocals, and the synth work by both Kike Bela and Lluis Rueda completely flesh everything out in a spectacular way. The music on Deep Red starts off sounding subtle, but it grows in power with every spin, and will eventually suck you down into its magnificent vortex. Bitchen." - Byron Coley, 2016. Edition of 500.

Artist: BLOOD STEREO
Title: Tape Hiss For Brainwash
Format: Cass
Label: Feeding Tube
Country: USA
Price: $6.50
"To celebrate their upcoming US tour, Feeding Tube Records is releasing a spooky little c30 by Blood Stereo, the Scottish duo of Dylan Nyoukis and Karen Constance. Any one familiar with their previous work will know that Tape Hiss For Brainwash is not to be missed. A heady mix of tape collage, minimal instrumentation and other-worldly vocals. We only made 100." - Feeding Tube.

Artist: BLUE SABBATH BLACK FIJI
Title: Mistake Of A Small Bird
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"This multi-national European duo, who currently hail from Scotland, have been producing a steady stream of ultra-limited releases and incendiary live performances on both sides of the Atlantic. BSBF may be a swanky looking couple, but their music is about as destroyed as a bombed out building. The two guitars and two mics are constantly threatening to overpower and split open the discotheque beats of the drum machines and electronics. You could dance to this music but you might get a bloody nose. This is, by far, their most fully realized album, showcasing them in peak form. Mastered by Rat Bastard and James Plotkin." - Feeding Tube.

Artist: BODY/GATE/HEAD
Title: Glare Luring Yo
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"In the spring of 2011, Michael "Powderfinger" Morley was in the U.S. for a short visit. There had been some talk of doing a Gate show or two, but when he visited Western Mass., Feeding Tube Records decided to put use to his collaborative talents. He played one night at the Yod space in Florence with Kim Gordon and Bill Nace, then at Feeding Tube with Spencer Yeh and Meg Clixby. Both sets provided jumbo pleasure, and Michael managed to record the Yod set for our presentation to you. Kim and Bill were at the beginning of their duo explorations at this point. Cant even remember if theyd started using the Body/Head name yet. Regardless, the instrumental sluice -- with occasional spirit-vocals by Kim -- is similar yet quite different from the duo tactics theyve since evolved. Morleys presence gives the proceedings a bit of a grungy psychedelic smear, whereas their other recordings (at least as of now) have a rather more ethereal arc. The set occurred in front of a slowed-down screening of Catherine Breillats gorgeous 1976 film Une Vraie Jeune Fille. Feeding Tube thinks youll agree that the music here matches the sexy surrealist power of that film frame-for-frame, or your money back. The cover, by the way, is a beautiful silkscreen designed by Morley and based on an outtake from Susan Harris NBC program, The Golden Girls. The image was based on Bea Arthur and Betty Whites characters from a season five episode entitled "Break-In." The album title is a phonetic spelling of what Ms. Arthurs character keeps chanting while attending a Madonna concert. Now you know." -Feeding Tube.

Artist: BUCK GOOTER
Title: First Decade
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Buck Gooters First Decade is a strange anthropological skeleton detailing how a wholly millennial-American band became the musical and performative reflection of the dog-shit-smelling (chicken-meat-processing) small town in which they reside and the human-shit-smelling national underground music scene that they epitomize. Its a collection of brutal jams thats, somehow, simultaneously historic and futurist; its punk as fuck, but endearing and folk-ridden; its simple and concise, yet unpredictable and psychedelic. These ten songs, one from each year of the bands first decade in operation, embody the off-kilter cultural legacy of their Appalachia whilst somehow being flawlessly delivered on a vessel of pure, wholehearted industrial punk. This music transcends categorization and provides a chronological glimpse into an intensely unique project that channels the bleak and imaginative in the same stroke of pop homage and resentment. Its impossible to nail down in any traditional generalization, as its the complete musical embodiment of two very distinct individuals, Terry Turtle and Billy Brat, who could both carry a creative torch to the moon on their own, but whom this weird fucking universe blessed us with as a masterful and perfectly balanced union. First Decade is an incredible document of true American cultural revivalism, from the creepy hypnogogic ramshackle pop hooks of the early “Cigarats,” “I’ve Got Damn Age,” and “Spider Wings” to the morphing, angular, noise-punk gems of “Infant Eyes,” “Rat On!!!,” and “Ouija Guitar,” and finally landing on the amazing, concise, terrifying brutality that has come to be their calling card of the past four years, which includes one of my all-time favorite songs, written by any band, ever: the steadfast, perfectly produced, blues-licking chill-punk anthem “Consider the Grackles.” This record, at its core, provides an interesting perspective on how an extremely unlikely duo have come together, birthed, and continue to grow into one of the most unique and genuine bands in the world. The First Decade is fucking awesome and it made me realize how much Im looking forward to their next" - Justin Frye, 2015. Edition of 200.

Artist: BUGS & RATS
Title: Adidas
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Vinylization of a 2010 CD-R by this Quincy, MA trio who have been around since 2003. Their longevity makes it damn odd that this is their first LP. But it is. The fact becomes even odder when you hear how goddamn great the album sounds. Perhaps its only with the coming of bands like Guerilla Toss and NE Patriots that Bugs & Rats are getting their vinyl due. But it should have happened long ago. The real antecedents of their sound seem to lie in the early 90s Scab Rock scene, of which Boston had proponents such as Kilslug, Hullaballoo, Nightstick and whatnot. Theirs was a sonic collision of post-no wave noise, Crypt-oid garage rock, and sludge metal. Its local thread was all but erased by the ascendant dogshit and vom of bands like the Mighty Mighty Bosstones, but a smoldering spark lurked in Quincy. Feeding Tube is happy to fan this sputtering flame into a roar. And Adidas is it. This album follows a beautiful blabbermouth trajectory of non-core/non-noise aggression with riffs, drums and vocals, blaring and blasting into the darker regions of the New England night. The pace is alternately slugged and frantic, just as it should be. And the more I hear the scream of their feedback, the warmer I feel. You will too." --Byron Coley, 2014; edition of 250, hand-painted silk screen gatefold jackets by Kellzo of Bugs & Rats.

Artist: BUGS & RATS
Title: Bugs and Rats
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
LP includes download code. Edition of 400. "Nine-song pus-rock explosion by this Quincy, MA, trio with guest vocals on a couple of tracks by Kassie Carlson (of Guerilla Toss). The sound has a mega-sludge hunch that will make you feel several sweet reefs to the wind, until you fasten your seatbelt and get ready for the ride. The bands pace varies from machine-gun rattle to cough-syrup lunge (sometimes within a single song), so youll want to make sure your neck is well-braced, too. In the days when dumbos stood around, hanging their heads, shaking them mopily to the beat, Bugs & Rats would have been in the liability chair for any number of lawsuits filed by the parents of weekend-punks from Harvard. Today, thankfully, their status is such that their shows draw more heavily on the underground-lifer contingent. The bands mix of feedback, roar, and thump is one of the hotter mixes currently available in the Eastern Mass area. Without much in the way of fancy-pants scene politics, Bugs & Rats have managed to persist through many waves of fashion-based idiocy with their balls and their bells intact. These gentlemen have gotten to the nut of raunch epistemology. Hope you can dig the lecture" --Byron Coley, 2015.

Artist: BUNWINKIES
Title: Map Of Our New Constellations
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Beautiful first LP by these Western Massachusetts maestros of the mystery-volk gesture. Named after some well-bred rabbits of Martha Burr Banks invention, related by birth to Jow Jow The Death Knell Rung, many of the questions here are posed by Beverly Ketchs plaintive vocals, all of them edged with a wide-eyed wonder one would suspect was a ruse if one didnt know her. There is a bit of the campfire to the materials construction, but theres none of the cutsey-pie crap that might seem to infer. Some of the bits ring like a full-fledged folk-rock oyster. Indeed, the vibe is not dissimilar to the work of Barbara & Teri Manning, and the organ backing that pops up here and there is very much in line with the SF sound developed by the Amarillo Records bands and their ilk. Very goddamn elegant, this."

Artist: BURKETT, JOSH
Title: Gold Cosmos
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"This is the third album recorded by Joshua Burkett. The first, Owl Leaves Rustling, was returned to life by Spirit of Orr. Its CDR follow-up, Life Less Lost, was recently retrieved by Golden Lab. Now it is time for Gold Cosmos to once again bask in the sun. Initially released in 2001, Gold Cosmos (a title I always thought sounded like a Robbie Basho bootleg) featured performances by people like Dredd Foole, Matt Valentine, Ben Chasny, Teri Morris, PG Six, Chris Corsano, and Noah Wall, which was the worlds first real evidence that Burkett was not operating entirely in a vacuum. Prior to this Joshuas work seemed quite hermetic, although those few who knew of his recorded legacy would tell you otherwise. The album still sounds amazing and revelatory today. The music proudly wears the fingerprints of a vast array of outsider artists from around the globe who created their own weird universes in the guise of folk music -- from Dave Bixby to Dana Westover, Perry Leopold, Ed Askew (with whom he collaborated), and various other freaks. These impulses were run through deep knowledge of UK acid folk (ISB, COB, and onward) and you end up with a brilliant and unique alloy. This is the kind of deep knowledge you only acquire by haunting record stores for a long time, but Burkett never falls prey to checklist-thinking or doing the obvious. His creations are fully his own and they wail in the softest way imaginable. Prepare for a real trip" - Byron Coley, 2015. Limited edition of 500.

Artist: BURNT ENVELOPE
Title: Alien Nation: Collected Singles Thus Far
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
Limited numbered edition of 300. "Vinylization of the first cassette released by Tony Pasquarosas incredible scuzz-punk project Burnt Envelope. Tony is well known for his multifarious guises (Crystalline Roses, World Domination, Gluebag, etc.) and membership of Frozen Corn, Aerosols, and whatever else might have happened this past week. Alien Nation documents the first imaginary seven singles by the band, ranging from garage-spew in the proto-punk vein to brutalist groin thunder. Version Sounds Bob Moore has compared Burnt Envelope to Electric Eels at their snarliest. Regardless of labels, the music here is a brilliant mock-trio throb that ranges from neolithic suburban psych pulse of a Lazy Smoke cover right on through to blabbermouth pre-core lockjaw. Burnt Envelopes LP is a significant addition to Tonys discography, a discography that may well prove to be one of the most important blurts of New Englands sub underground" - Byron Coley, 2016.

Artist: CALLAHAN, JACK
Title: Music From Airports
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"Edition of 100. Amherst resident solo percussionist and booker of countless basement shows. His music aims to create a total sonic takeover of the space, always by employing silence to gather souls towards a complete ecstatic takeover. (Or, sometimes by). Sometimes you will ask, "Is this record still playing"? Yes it is still playing. -Feeding Tube "Bewitching set of ultra-sparse solo percussion music from western mass provider-of-said jack callahan ... having caught jack completely immobilize a room full of partially-to-wholly inebriated concert-goers a few weeks back doing this exact set of music, i can safely say hes committed to the art-form long-term (cant even count how many meehan-acolytes ive heard breeze through town, only to pop up again backing some schmuck playing “hypnagogic chillwave” a month or two later) ; as a rule, silence is golden & jack uses it here to maximum effect, with each stray session of agitated snare-drum surface cut with a good buffer of “reflection time” in either direction ... works beautifully as a record (thanks largely to bhob raineys sympathetic mastering job) ; havent heard a more patience-requiring record in a minute, this one delivers". -Keith Fullerton Whitman

Artist: CANTIUS, R.A.
Title: Playing in the Dirt
Format: 12"
Label: Feeding Tube
Country: USA
Price: $20.00
"This LP exists through an act of sheerest serendipity. Scott Seward of John Doe Jr. Records up in Greenfield, MA, was talking to one of his regulars, an Amherst-based photographer named Bob Cantius. In the course of their conversations, Scott learned that Bob had -- in a former life -- done some experimental sound recording, portions of which featured his own homemade string instrument: the Brunt-Milter. Eventually, Bob was able to turn up tapes of two finished pieces. Both were begun with the Brunt-Milter in 1964, then finished off with added sound sources and mixing in 1968. When they were started, Cantius had just finished his arts degree at Montclair State University, and was working in a dirt-floored studio in Paterson. He then spent three years getting a Masters at NYU Film School, and thats when he added the new work to his instrumental beginnings. The music is a great collage of strange strings, street recordings (some made by Bob while he was doing sound for film shoots), and various effects, techniques, and radio manipulations. Its a rather remarkable find, and documents a style of experimental thinking and creativity that was common at the time, but usually ended up in the dumpsters of history. Includes text related to the little-known Happenings scene at Montclair State and other secret histories" --Byron Coley, 2015. Includes booklet by Scott Seward and Byron Coley. limited edition of 200.

Artist: CLARINETTE
Title: The Now of Then
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"In the 15 years since Thurston and I released the first Clarinette LP, Haze (E#60, 2002), Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes, and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Dans best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground. Clarinette is a long running solo project that began in the 80s, that went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps, and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey -- it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinettes music definitely twangs the freak register. Who are we to say you should remain seated?" - Byron Coley, 2017.

Artist: COOLIES
Title: Kaka
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"The Coolies have been blurting out random batches of high order avant garage spew since 1997. Sjionel Timu and Tina Pihema are the core of the band. Formed in the sprawl of South Auckland while they were still teens, the Coolies were ostensibly a “punk” unit, but their sound was never doctrinaire. Through sheer weirdness and strength of vision, they created music that paralleled aspects of underground noise from the forests of Olympia Washington, the squats of West London, and the basements of Dunedin. Without resorting to formal revisionism, theyve managed to take the basics of the early Rough Trade sound and smudge it with fingers dipped in the art-readymades of NZs underground pop groups and their own fevered experimentalism. For a good chunk of the last decade, Stefan Neville (aka Pumice) was their drummer. This line-up cut a great LP, Master, for Chapter Music, and an even more dastardly EP, Punk Is Bread, for Epic Sweep. Now, we are delighted to present their third album, Kaka, gruntily produced by Neville. The tunes on Kaka (the title refers to either Maori slang for “shit,” or the name of an indigenous NZ parrot, depending on how you ask) were recorded in a couple of long jam sessions, then teased and smooshed into “shape” over the course of a year or so. The results are both propulsively fetching and utterly fried. Weve been listening to this one incessantly. So will you." -Byron Coley, 2015. Limited edition of 400.

Artist: COSMIC HALLWAYS
Title: Cosmic Hallways
Format: LP
Label: Feeding Tube
Country: USA
Price: $29.00
"Cosmic Hallways is the North by Northeast fire music crew assembled by leader Gene Moore (Prana-Bindu/Hat City Intuitive/Thurstons big brother) for this double sax, guitar axe, bass and drums -- fire music field trip to the Schoolhouse (a former one-room 16th/17th century schoolhouse turned recording studio) in the pleasant Connecticut River Valley farm town of Hadley, Massachusetts. Here, 21st century hot and sauce techniques meet the "how the fuck did people live out here -- and in this house" -- vibe from the late 1600s behind a 15 foot high fence surrounding the one street town from the natives who wanted to fry their children to send the message thats sometimes whispered softly and gently as "get...out..." Anyway, using drums, upright bass, alto & tenor saxes, electric guitar, bells & yelling, the 5 folks on this record invite you to join them for 40 minutes on their sweat-soaked & bone-toked free-fire odyssey to mindframes previously unbeknownst to the assembled. Members include: Gene Moore (guitar, bells); Paul Flaherty (Flaherty & Corsano, alto & tenor sax); Gene Janas (Owl Xounds, upright bass); Jeffrey Hayden Shurdut (alto sax); John William Moloney (Sunburned Hand Of The Man, drums). Recorded at the Schoolhouse by Jim Matus, November 22, 2010. Hand-numbered limited edition of 200 copies." -Feeding Tube.

Artist: COURTIS/OKKYUNG LEE/C. SPENCER YEH/JON WESSELTOFT, ANLA
Title: Cold Burn
Format: LP
Label: Feeding Tube
Country: USA
Price: $19.00
"Superstar live drone fiesta time here, my friends. Recorded in Olso, during the Auroura Borealic night of January, 2010, this beauty thrums with a majesty-vibe arising deep from within the earth. Each of the participants has been horn-blown around the globe for mastery of individual string/machine attack. C. Spencer Yehs violin arcs have powered a million strange improv scenes. Jon Wesseltoft is clearly the king of Norwegian harmonium dudes. Okkyung Lee is a Korean polymath re: formal cello innovations, but her handling of rainbow parallelograms is unequalled regardless of national borders. And Anla Courtis has taken the Argentinian electric guitar to points in space unvisited by any of his countrymen. The two sides of this LP form a brilliant whole. The first is a sequence of small discrete events that cohere because of "fifth mind" dynamic overlays. The second is the seamless contrail of an arrow shot directly into the heart of the sun. Together, they comprise one of the tastiest sessions of motion-as-stasis you will hear in many a dark night. Breathe the deep of the still and huzzing air. Be free and be one." -Feeding Tube

Artist: CRESPO, ANDY
Title: Two Cigarettes Kissing
Format: 12"
Label: Feeding Tube
Country: USA
Price: $20.00
"Andy Crespo has been the go-to bass player for sub-underground locals since time immemorial. Whether recording with mysterious free jazz units such as Gross, or the original Barn Owl (the trio with Matt Weston and Chris Cooper), or playing with one of the countless live bands hes been in, Crespo is a commandingly smoky, mysterious, and powerful presence. Feeding Tube is tickled pink to present Crespos first solo vinyl -- two side-long excursions of bass-generated sounds thatll roam your interior fields like a cloud of bees searching for nico-nectar. Considering Crespos personal collecting policies, its crazy that he conjured up such a berserk set of splattered electronics/strings/feedback, but the proof is in the pudding. And this pudding blazes. Maybe the best way to think of it is to imagine a large mans dream of what Billy Mures Supersonic Guitars LPs might sound like if they were given a truly post-modern twist. That is some deep space, baby. As startling in its way as Barre Phillipss Unaccompanied Barre (aka Journal Violone aka Basse Barre) must have been back in 69. So give the artist a cigarette. Maybe hell share his coffee" --Byron Coley, 2015. Cover art by Ted Lee. Plays at 45 RPM. Includes download code. Limited edition of 200." - Feeding Tube.

Artist: CRYSTALLINE ROSES
Title: Cosmic Driftwood
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
LP includes digital download and insert. Edition of 400. "Second Crystalline Roses LP by local Renaissance man, Tony Pasquarosa, is a goddamn monster of readymade acid folk transcendentalism. Since Feeding Tube released the One Man Cult LP back in 2010, Tony has done a wonderful solo guitar album for VDSQ, the insane space-sludge of World Domination (FTR 123LP), the raunch zonk of Gluebag, and various other projects far too numerous to name. On this album, Tony creates a classic late night smoker soundtrack. A brilliant journey into and beyond ego, the blend of guitar, voice, bells, bamboo flute and whatnot will be transportational for even the straightest listeners. Cosmic Driftwood represents some of the deepest acoustic-based psych weve had the pleasure of hearing in a long while. It makes a lot of Tonys contemporaries sound about as interesting as Smurph sing-alongs (no names), and is an instant classic. Get out your pipe and relax." - Byron Coley, 2015.

Artist: CRYSTALLINE ROSES
Title: One Man Cult
Format: LP
Label: Feeding Tube
Country: USA
Price: $14.00
"Edition of 250. Beautiful guitar of 6 or 12 strings, banjo, sitar, vocals etc...from member of SQRM, and Aerosols. Acoustic album by Western Mass resident Anthony Pasquarosa, who made all the artwork himself. This record builds upon turned-on folk tradition and it feels both fresh and timeless. -Feeding Tube "Quite nice set of folk-ragas from western-mass guitarist anthony pasquarosa, member of stunted-growth hardcore act sqrm ...while the slow-sweep phaser reminds me of matt valentines work, the stereo-field overdubbing is straight outta the richard youngs playbook ; not a bad pair of signifiers to be nestled between ... nice variable-fidelity set as well ; the dusty banjo pieces could easily appeal to higgs-acolytes as well". -Keith Fullerton Whitman
SOLD OUT

Artist: CUNNINGHAM, MARK
Title: Blood River Dusk
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"The debut solo album by Mark Cunningham (Mars, Don King, Raeo, Convolution, Bestia Ferida, etc.) was originally released on CD in 1997. The label went out of business almost immediately, however, so the project has been more or less unheard since it was recorded. Feeding Tube only learned about its existence in the course of working with Mark on their recent Mars LPs, and when he gave us a copy it pretty much blew them away. Marks trumpet tone on much of it reminds us all what a goddamn central record Miles Davis On the Corner was for the whole no wave scene. The same weird muted tone is smeared all over this record, whether its spread across detourned tango rhythms or heisted motorik pulsing, theres a constant presence of Miles compact menace lurking in most notes. The album itself is bizarrely Barcelonan in structure. That Spanish city (to which Mark expatriated himself after the end of Don King) has been a place where dance music, noise rock, and electronic improv have all thrived inside a single tent. Each of these threads presents itself on parts of Blood Red Dusk (the title of which is a tribute to the writing of Cormac McCarthy), but the blend is always held together by Marks trumpet and/or bass work. Blood River Dusk is a masterpiece of both the Barcelona underground and the post-no wave scene. Includes a small booklet with an interview where Mark lays out the entire saga. Choice. Edition of 300. Download included." -Feeding Tube.

Artist: DAGLEY, MARK
Title: Collected Works 1978-2016
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Mark Dagley, although largely focusing on his visual art for the last many years, is a musician whose work has always intrigued us. We already issued some of his work with The Girls (FTR 220LP, 2015), Hi Sheriffs Of Blue (FTR 093LP, 2014) and Marianne Nowottny (FTR 221LP, 2015). Now, heres Collected Works, only the second album issued under his own name. We had bugged Mark for a good long while about digging up the tapes for the Shut It Up/Gossip Crowd single hed done back in 79 (immediately precursing the Hi Sheriffs), and when he transferred that material to cassette, he included some newly unearthed electronic work done at the same time he was working with The Girls. The stuff was great, collapsing waves of splendid analog murk, so we immediately requested a full album of solo material. The resulting set spans almost 40 years of work and ranges from experimental blues explosions for solo guitar to drone-oriented electronics, transcriptions for a mechanical music box, and the splutzo No Wave kuck we had originally asked about. It documents four decades of strange invention, carried out almost fully beyond the view of the record buying public. Its a lucky break for you that we had the moral fiber to bring this mother to ground. Its an amazing and mysterious listen from first note to last." -Byron Coley, 2017.

Artist: DALTHOM
Title: Frame Slip
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Thrilling second album by the duo made up of Greg (Gary War) Daltonand Rob (Sunburned Hand of the Man) Thomas. The first album was recorded and pressed a while ago but has yet to be actually released. Perhaps because these guys are operating under Nigel Senadas Theory of Obscurity (see The Residents Not Available). Or perhaps not. Only time will tell. Regardless, this sophomore effort is nothing but a goddamn corker. Knowing something about the work ethic of this pair, I had suspected this LP would be filled to the bong-lip with loosely unstructured jams and zingers. And while those elements are indeed part of the parcel, they are mere details in a large, richly varied and luminous whole. Dalton brings his multi-various musical New Zealand ex-pat weirdnesses to the party, and Thomas draws deeply on his intense Massachusetts record collector powers to create tunes and bridges and sighs that make sonic images skip across the surface of your brain like the smoothest stone on the planet. The two conjure up all the sounds on their lonesome, apart from some drum bits by New Zealand form-manster, Kraus, and some background vocals by fellow kiwi Clementine of Purple Pilgrims fame. You can hear twinges of all kinds of heavy cult tunage smeared into the corners -- a bit of Hoelderlin here, a smudge of Relatively Clean Riversthere -- but what it most recalls are the highest echelon exploit-o drug-powered records like LSD Underground 12 or The Happening by Fire & Ice Ltd. As a piece of music its as thoroughly toasted as either of those, managing to be higher key and low-key at same time. Pretty fuggin brilliant. Lets hope the other album gets cut loose soon!" - Byron Coley, 2016. Edition of 300.

Artist: DEVIN GARY & ROSS
Title: Honeycomb Of Chakras
Format: Double LP
Label: Feeding Tube
Country: USA
Price: $30.00
"This trio -- Devin Flynn, Gary Panter and Ross Goldstein -- has delivered one of the most blinding psychedelic listening experiences of the last several anna. Only one of these darlings -- Ross Goldstein -- is known primarily as a musician. Gary Panter is one of our eras premier visual artists, and Devin Flynn is among the ages most berserk animation stars. But they have nonetheless managed to blast their way into the very center of a psych-specific cosmos that will make your fingers feel like sausages and your ears wobble as though theyre on stalks. The band has one prior record, the excitingly primitive Four Corners Bounce on Pete Nolans Arbitrary Signs label, but they truly arrive with Honeycomb. Opening with a gorgeous bloot through West Coast Pop Art Experimental Bands "Smell of Incense," they set a high bar, which they manage to hit every leap, no matter how cartoonish Garys voice sounds at times. They also manage to burn through killer versions of Familys "See Through Windows," Henske & Yesters "Farewell Aldebaran" and a bunch of other monster 60s brain ticklers, as well as coughing up their own material in a way that makes you think youve heard it somewhere before. Its a totally whacked effort, ending with a piece of spoken spuzz that demonstrates what it would be like to go to a Star Trek Convention, very high on bad acid, wearing cartoon hand puppets. Completely befuddling! Comes in an eye-toasting full-color gatefold cover, with insanely tricky graphics. You will be so glad you got this album, youll be thanking everyone on your street. For days." - Feeding Tube.

Artist: DICKINSON, SOPHIE
Title: Cucucanady
Format: LP
Label: Feeding Tube
Country: US
Price: $20.00
"First LP from New Englands favorite dream-harpist, Sophie Dickinson. Previously known for her work in the context of Bostons Whitehaus Family, Cucanandy represents a mind-blowing excursion into the mists of the heretofore unknown universe of acorn people, detourned Scottish balladry and backseat singalong dynamism. Sophies is music that lives in a hollow tree, emerging like a salvia-soaked squirrel to jibber and skip around your room in a way that will drive you crazy with deviously antic moves. Theres a delicious aroma that hovers over the session, smelling of grandmotherly pies baking in huge underground ovens, mixed with chipmunk fur washed in morning dew. There have been a lot of odd excursions into the wilds of New England before this, but there has never been one like this. Half kindergarten recreations of Wicker Man, half cannon rides into a spinning bucket of Scotch sausage, there is much here to make grown men (and women) swoon. Grab a spoon and do it" --Byron Coley, 2015. LP includes download code.

Artist: DREDD FOOLE
Title: In Quest of Tense
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Back in 94 there was little sense that a new scene was on the horizon, but there was. Indeed, things were beginning to break out all over. All they needed was a little push. In Quest of Tense was released on CD in 94 (FE 038) and was just what a lot of people needed, even if they didnt know it yet, or didnt quite realize what it was when they heard it. Dredd Foole(aka Dan Ireton) had been roving through the Boston music underground since the early 80s, with a series of bands using the name The Din, and then on his own. Bored, stoned, and listening to naught but free jazz and folk, Dredd went into his room with a four-track, a reverb, some guitars, and little else, emerging after a week with this masterpiece. The music takes a weird, improvisation-based electric folk form, something only previously mastered by Tim Buckley on Lorca and Blue Afternoon, and drives it straight into the clouds. Echo-soaked, massively-skronked, glossalalic to the point of no return, In Quest of Tense lit brain-fires from the Lower East Side to Austin. And it may have taken a while for their collective smoldering to erupt into a fire storm, but it did. And heres where it starts. An amazing album, today and always. Finally on vinyl." - Byron Coley, 2015. Limited edition of 400.

Artist: DREDD FOOLE & BEN CHASNY
Title: Drunk with Insignificance
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
“This album has been a long time coming. Dredd and Ben first talked about collaborating back in the late 90s and its now 2014 and the goddamn thing has only just arrived. Was the wait worth it? You bet your teeth it was. While this album would have been pretty great if theyd done it back in the day, the fact it has been allowed to age and grow of its own accord lends the project a richness and beauty beyond easy comparison. This specific album grew out of some shows Dredd and Ben have done together over the past couple of years. The communication between the two of them was deep and crisp, even from the very first note they played together. I dont recall if thered been any rehearsing at all, but Bens electric guitar was weaving around and through Dredds vocals and acoustic strings as though hed been doing it since he was a pup. Having seen Mr. Foole perform in a wide variety of situations over the past 33 years, I can assure you that he has rarely been in such telepathic company. From the extreme blabbermouth lockjaw of "Pressed for Illumination" to the relatively quiet melancholia of "Four Roses for Jack," the sounds on Drunk with Insignificance are utterly maxist. Dredds songs have never sounded better, and Ben pulls an exquisite raft of riffs out of his sombrero. If you have a fondness for either of these legends of the contemporary underground, you owe it to yourself to check out this collaboration. It will shiver your timbers down to their very roots. Beautiful. Edition of 300.” - Feeding Tube.

Artist: EGG, EGGS
Title: Little Sickie: First Signs of Infection
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"The A-side is a live recording of a very special Turners Falls performance, at which singer David Russell literally called it in on Skype. Many audience members remarked how much more relaxing (not to mention relaxed) the band seemed without Mr. Russell in their midst. And that may or may not be, but this here is definite sonic evidence that the band played real well without Davids physical hectoring. Lauri McNamara also calls in her electronic rinkery, but the rest of em - Ted, Scott, Sophie, Jen and Brett - provide a wiggling backdrop of nudist/dada minimalism. Shorn of all clothes, the four played in semi-darkness on an array of gadgets that would have made James Bond green with envy. None of the devices can actually be named here, since patents on all of them are pending, but you can hear their beauty. A sprong here, a plonk there, and above it all - a withering dither. The flip was recorded at the old Feeding Tube store with Olivia, Sophie, Scott, Ted and David, all fully dressed, and playing like they were a circle of overwound mechanical toys. Whats it like being ready to pop? Just give this a spin and youll know more than you ever dreamed possible. And thats what they call Little Sickie." -- Byron Coley (2016)

Artist: EGG, EGGS
Title: The Cleansing Power Of Fruit
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"Despite Matt Kreftings resistance to all things fruity, there is little doubt that these friendly non-mineral, non-animal products of nature have the capacity to flush poisons through our internal trails far better than most anything else. Especially eggs. Still, it is an egg that remains Dave "Mr. E. Candy" Russells muse as he fumbles his way through a vocal universe that is collapsing around his French ears. Something like a cross between Crocus Behemoth, Little Lulu and Colonel Bruce Hampton, Russell is on fire here, his vocals emerging from fruit-caked lips as though they were pearls shot from the buttocks of an all-seeing vizier. What Russell does exactly is hard to say, but its slow-kid, sing-song quality is bizarrely captivating. And the band here is a goddamn all-star Valley ensemble -- Tim Sheldon, Andy Crespo, Brett Robinson, Ted Lee, Vanessa Brewster, John Moloney, Jack Callahan, Ian St. George and special guests -- Matt Valentine, Jeff Hartford, Conrad Capistran and Lisette Lopez. Recorded over the last couple of years in various places around Western Massachusetts, it makes a strong case for Egg Eggs as the most discordian combo in this part of the universe. The comparison your brain will keep returning to is the Hampton Grease Band, updated to shine stylishly in a post-noise-rock milieu. It shares the same mix of brilliance, annoyingness and sheer what-the-fuckery as Music To Eat. And that aint hay. Nor is it fruit. Hurray!" - Feeding Tube.

Artist: EXHAUSTION/WANDERS
Title: II
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"Melbournes Exhaustion have been producing some of the coolest records on the Australian scene for the last few years. I mean, theres no lack of great OZ noise these days, but Exhaustion have managed to create a sort of post-scum/prog hybrid that hearkens back to those long gone bands -- like the early (Mick Turner era) Moodists -- who emerged from the Vegemite-stinking ashes of the Little Band scene. They generate a certain kind of noise, yeah, but it doesnt feel like anything anyone else is doing. It has a spatial quality and language of gestures that only recalls complete anomalies like Mars. Exhaustion put out a couple of great albums in Australia, then made the weird-seeming decision to tour and record a one-sided record with Kris Wanders, a tenor saxophonist who was in the thick of the early European free jazz scene. Wanders had played in various Brötzmann ensembles beginning in 1965, and appears on such legendary LPs as Schlippenbachs first Globe Unity record and Kees Hazevoets Pleasure One. He moved down to Australia in the 70s and had played and recorded with several people, but only on CD, so we never knew about it. Wanderss first hook-up with Exhaustion was a surprisingly civilized affair. The music was as dense as the early Tony Williams Lifetime or This Heat, but never really got into the freak register, if you know what we mean. A gorgeous side. When we heard there might be another tour in the works, we begged for a boon, and this album is the result. While similar to the first collab record, this one also allows itself to get unhinged in a whole different way. Again Ian Wadley (from Mad Nanna) is on bass, along with Duncan Blachford on guitar and vox, and Per Byström on drums. And the results are amazing free rock with a mix of blare and wobble that will leave you breathless. As sweet as a lost Futura side. Tell yr friends" - Byron Coley, 2016. Edition of 400.

Artist: FARMERS
Title: August 11, 1984
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"This is listed as a Farmers LP, but its actually a survey of Daved Hilds earliest work after the dissolution of Bostons best-ever band, The Girls. Chronologically, the earliest recording here is “The Fear,” recorded at Sorcerer Sound in NYC for a proposed Lust/Unlust EP called A Dogs Prayer. Daved is joined by another ex-Girl, Robin Amos, and ex-Mission of Burma multi-tasker Roger Miller. After that come the Farmers tracks, recorded in Cambridge. Daved had been doing solo work in NYC, dressed as a Mennonite farmer, but when he was up north the Farmers were a duo with Roger, whod add trumpet, keys, and whatnot to the mix. Finally, there are a couple of demo tracks recorded in Boston with Roger, David Minehan (of The Neighborhoods), and Dan Salzmann (ex-Maps, then in Christmas). Daved, of course, played in a vast array of different units and configurations after The Girls, but this album is a solid survey of his early output. His approach to songwriting (perhaps best known for “Jeffrey I Hear You,” from The Girls Hearthan single) is amazing and cuts into personal flesh no matter whether he knows anything about yr history or not. Singing like a pro wrestler trying to get all sensitive, he manages to convey huge vistas of hurt and strangeness without coming off like either a fop or a thug. It is a sheer pleasure to present this album of Daveds purist inventions" - Byron Coley, 2015. Edition of 350.

Artist: FAT CREEPS/ZEBU!
Title: S/T
Format: 12"
Label: Feeding Tube
Country: USA
Price: $18.00
"First vinyl outing by Fat Creeps, a Boston-area trio (Lynn, Mass, actually), who have been brilliantly assaulting local audiences for the last year and a half. Like Montreals No Joy, Fat Creeps combine guitar tones developed specifically for shoegazing, with a garage-pop sensibility that will not be stilled. Vocally, I am also reminded of Barbara Mannings classic early solo work (about the highest compliment I can offer), and theres a great friction between alternating layers of lassitude and energy. This makes for a coarse and classic blend, sure to be gobbled like ear-candy by anyone who wanders anywhere near the disk. As Bryan Ferry might say, "Marvelous." On the flip is new spamso-outsider-rock-aktion by Zebu! -- a duo (with guests) (with privileges) who seem utterly dedicated to dissolving genre walls in a gush of pearly abandon. This outing has the same roots-ripped sax that blasted through the center of chill wave, and even adds some female vocals (c/o Meredith Thomason) that provide an unusual shine. The rest is the howling, rhythm-whacked splooge we have come to expect of the Zebu! experience. Piles of guitars, drums and creepy vocals, teetering on the edge of your doorway, threatening to destroy your equilibrium forever. Nice. Edition of 600. Includes download card and insert." -Feeding Tube.

Artist: FIRE, TEDDY & IGUID FIDD
Title: Chastity Revolution and the Submachine Girl
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"This is Teddy Fires second long player documenting the early 90s home studio sessions recorded by legendary crate digger Pablo Yglesias (aka Pablo Cuba/DJ Bongohead), with his little brother Teddy (aka Theo Wulff) singing and free-styling like the mutant child of Gary Wilson, Jad Fair, Biz Markie, and Captain Beefheart. The first slab released by Teddy, 1996s Fluxing Headset Man (Sealed Hotel), was a mondo-bizzaro pre-pubescent basement shindig of mammoth proportions. But with interview segments, found sounds and whatnot, it vibed almost like a radio show youd catch late at night on WFMU -- weird and lo-fi, but maybe a little self-conscious. This new one, recorded when Teddy was in his pimply mid-teens, leaps into a form-vortex far more full-blown as an album-qua-album. On Chastity, young Mr. Fire is backed by Iguid Fidd, a studio band of revolving personalities. With amazing musical work by such surprising names as guitarist Bond Bergland (Factrix, Saqqara Dogs, Workdogs, Cluster), harmonica-player Fritz Fox (Mutants), guitarist Miki Navazio (Lounge Lizards, Fed Ho, Reggie Workman) and Pablos frequent musical collaborator Phil Nordit Scher (Whimmers), the tunes shift from blazing psychedelic-grunt to wheezing, insane R&B readymade, in the blink of an eye. Chastity has a center that is constantly shifting, with each strange spin bringing another big bubbling gob of something uniquely off-kilter and twistedly splendid. Includes a full-color insert with Teddys surreal mash-up lyrics and beautifully naïf artwork. If you have any interest in 4-track culture, done at its highest level, you should investigate the chimpadelic universe of Teddy Fire. If you think you dont dig real people music or kiddie rock, you may be tempted to dismiss this record out-of-hand, but that would be a mistake. Teddy Fire will have his say. The Revolution starts here." - Byron Coley, 2016. Edition of 500.

Artist: FLAHERTY, PAUL & CHRIS CORSANO
Title: Low Cost Space Flights
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"It has been eight long years since weve had a new duo album by Paul Flaherty and Chris Corsano. The two have played together in other configurations, but we all know there has always been something special and telepathic about their duo collaborations. From the moment they began playing together late in the last century, Paul and Chris communicated in weird, deep ways. And so it is here. Low Cost Space Flights was recorded in June 2013, at Eric Gagnes Thing in the Spring Festival in Peterborough, New Hampshire. And the duo wails through the three tracks. The room in which the performance happened has a nice natural echo, giving a sprongy edge to Flahertys lateral sax runs, while Corsanos feverish percussion dives straight through every hoopsnake Paul rolls in his direction. No surprise. Chris is among the nimblest, most authoritatively athletic drummers to have graced the circles of fire music hell. And Flaherty remains, to my mind, a continuously under-rated player, largely because hes so rooted to his physical place in the universe that is New England. His style slips seamlessly from freak register space-squeedling to bar-walk honkery to a sort of chess players motion-logic. Most of this set veers towards Pauls harder-blowing end of the spectrum and we say Halle-fuckin-lujah! Leave the ballads to the bow ties, for now. Low Cost Space Flights reunites two great goddamn forces of the New England improv scene, and displays their playing at its hermetic, alloyed best. Beautiful Simon Bosse cover art. Great songs titles -- The Dog Paintings of George W. Bush, etc. Whats not to love? Besides lobsters, of course." --Byron Coley; Includes digital download code. Edition of 300.

Artist: FLAHERTY/SAM GAS CAN/WHITE LIMO, PAUL
Title: Mystery Triangle
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"New music from Paul Flaherty, with Sam Gas Can and White Limo. Pressing of 500 copies, cover art by Joshua Burkett. Like all of the greatest live "festival" records -- Woodstock II (Cotillion 71), Mar y Sol (Atco 72) & 1968 Memphis Country Blues Festival (Blue Horizon 69) -- Mystery Triangle is an especially exceptional souvenir for those people who were there when it happened. But unlike dud compilations, Mystery Triangle provides a truly fine sonic gush for even those of us who were too confused (or scared) to "make" the actual "scene." In November 2011, a goddamn magnificent display of talent went down at Joshua Burketts Mystery Train store in Amherst, MA. And thankfully, Edward "Ted" Lee, the whirling dervish of Feeding Tube, was there to capture the sounds on tape. First up is Paul Flaherty -- the godfather of all that is good and weird in New England. Paul has been woefully under-documented in solo performance. His maniacal sax work is well represented in duo and group settings, but he has always been a bit shy about pure solo work-outs, and he shouldnt be. The beauty of his turn here is stunning. Relying less on the freak-gush that marks his ensemble work, Flaherty creates a pure, blazing line of melodic invention that is a testament to both the power of his lungs and the creativity of his process. Stoned and flowing, his side rips gently into the air with a series of compositional statements that are gorgeous, fully-imagined and a testament to the brilliance of no-net-improvising. Without other players gumming up his works, Paul moves through moods and thoughts with ferocious surety, creating one of the finest recordings in his catalog. Truly a wowser of a set. Sam Gas Can sometimes relies on conceptual theories for his sets, but here is an engine of pure glossalic genius. Working in the tradition of the great sound-poets, Sam offers a bravura performance that stretches itself deep into the Schwitters zone, conjuring up subconscious connections to memories locked far beneath our surfaces. As the great Dredd Foole noted after the set, "No one uses their voice any more." An amazing thing. Finally, White Limo (Chris Cooper, Jess Goddard and Joshua Vrysen), hit the road with a set of cracked electronics halfway between serious aleatory ensembles like Gruppo di Improvvisazione Nuova Consonanza and proletarian ass-crack noisers such as Id M Theft Able. Although they dont seem to play often, this trio (with deep roots throughout of the odd-noise underground) has cracked the code that has daunted many other combos with similar intent, making sounds that manage to be both deeply resonant and weirdly engaging. Totally boss. This is a fully satisfying festival record. Every performer, every note feels essential. One of the best. No shit. Includes mp3 download." -Feeding Tube.

Artist: FLAMING DRAGONS OF MIDDLE EARTH
Title: The Seed of Contempt
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"The opportunity to uncover such a talent might only come once in a lifetime. Danny Cruz is a wheelchair-bound adolescent whos apocalyptic lyrics and musical vision are at once life-affirming and evil-obsessed. Taking a page from his heroes, Black Sabbath, Roky Erickson and Sun Ra, Danny and his crew stir a "cauldron of words and sound" on their seemingly endless pursuit towards world domination and total artistic freedom. Culled from over three years of practice tapes and home recordings, "The Seed of Contempt" is a total outsider oddity; falling somewhere inbetween heaven and hell. "Reality-Core" "Mud Lightning Metal". - Feeding Tube.
SOLD OUT

Artist: FOUR THING
Title: s/t
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Zach Phillips, most logically of this and that and OSR Tapes, but what is logic when you need a break: more dumb programming. Programming language. I am his friend. Weve worked. But I am from the same yellow margin, the same Experienced Easter basket, the same New England experiment drifting lift and lateral: Im either the same kind of somebody or the same kind of no, not. So I guess that cancels out? Just joking. This is an opera, an opera based on a made-up game. Four weird librettists, four weird singers, some unholy chug of gem crashes in the popping by below. Otherwise known as holy light. Light light: where is the whip-crack bang-severity of cold gallery at the border of arty forms? Not here: were pushing and gushing but were underlion worn and funny. Satori at the frozen waterfall O.K., but we like these ones that move." --Chris Weisman, Brattleboro 2016. Four groups of four songs with words by: Jeremy Daly, Quentin Moore, Hanna Novak, and Christina Schneider. As sung by: Becca Kauffman, Ben Russell, Sami Stevens, and Colin White. With music, direction, and recording by Zach Phillips. Mastered by Carl Saff. Album design by Sarah Smith. Edition of 500." - Feeding Tube.

Artist: FRANK HURRICANE
Title: Fuck wit It High: A Mystical Gangstas Reflection Vol. 1 (Pympstrumental)
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"In a world with nothing to love, you cant love anything thats of this world. You need something holy. Better yet, you need something holy and spiritual. EVEN better would be something holy and spiritual that fights for righteousness instead of destruction. Well, your fuckin troubles are over, dude -- the Holy Spiritual Gangsta Frank Hurricane is back! There are parts of this new Frank Hurricane record that sound like perhaps he actually built a shirt from one of those rap music Casio keyboards and then had baby elephants squeeze him between two waterbeds with his arms outstretched so he could tap out melodies. Frank moves through the murk of this lo-fi paradise with ease and, most importantly, space. This records got air in it, the tones blow together like the leaves of a tree that sprouts degraded VHS tapes instead of fruit. Its recorded in a way that calls to mind cheap cassettes and British bedrooms in the early 1980s. But its here and now. You could excerpt bits from this record and sneak them onto a Snatch Tapes compilation and no one would bat an eye. But this is Frank Hurricane, the guy who raps about pizza and tells outrageous stories about his travels while he warms up for a song about mountains, using the word psychedelic as freely and as tonally as Miles Davis used the word motherfucker. Theres always been something to Frank that hints at hidden depths in his persona -- he operates with a wink and a smile but with simultaneous earnestness, and if youre not tuned in, his subtleties could whiz right past you. What hes doing here isnt out of character at all, its an embrace of the twinkling possibility of low fidelity to teach lessons about cosmic potential, and Franks interests are nothing if not geared toward cosmic potential. Last I checked, Bill Hicks once said this: It doesnt matter because its just a ride. And we can change it any time we want. Its only a choice. No effort, no work, no job, no savings of money -- a choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your door, buy guns, and close yourself off. The eyes of love, instead, see all of us as one. What side do you think Frank Hurricane is on?" --Matt Krefting, Holyoke, MA, 2015.

Artist: FRANK HURRICANE
Title: Mountain Brew Light
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Frank Hurricane is a steward of benevolent mischief, and there is no slowing his holy roll. He has inhaled deeply from a wide swath of this countrys bizarre atmospheres, and when he exhales, one gets the distinct impression that he might actually be making some sort of sense out of an entire host of experiences that might otherwise simply confuse and confound. Frank has yanked terms such as spiritual or haunted down from their ridiculous alters and placed them into tactile, more nuanced tonal motifs. The words dont take on new meanings, per se, but they do exhibit new shades, new hints of character. And character is something sorely lacking in these rotten times. Frank Hurricane gives such terms breath, and through that breath they live anew. Thats what literature is, I think. Theres a propulsive thrust here, a bottom end, a deep bass bed, and above it everything else does soar and fly. Franks legitimately unique storytelling abilities are allowed to swim to their own peculiar rhythms. Its trite to say that any artist (let alone musician) marches to the beat of their own drum, but in this case the phrase becomes not only accurate, but necessary. All told, this is some sort of distillation of a vision. You distill some things, and you end up with bullshit - dogma, restrictive formal constraints, hate. You distill things another way and you end up with holy whiskey. Or love. No matter your poison - yeti, racquetball, tennis, pool, whatever - all are welcome at the Hurricanes table." - Matt Krefting, 2016.

Artist: GARBUS, RUTH
Title: Rendezvous with Rama
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Ruth Garbus, of Brattleboro VT, is a force of nature in the Upper Valley. Her visual art and musical work are always imbued with the magic of a crisp fall evening, suggesting the shifting mystery of the seasons, rooted in the granite of the White Mountains. Rendezvous with Rama was originally issued on CD (Autumn Records) in 2010, around the same time she was working in the quartet Happy Birthday. This followed her work with the Feathers Family collective, who were responsible for some of the first progressive-folk-smoke to drift from Southern Vermont. But this here is what she sounded like solo back in those days, and its great. These days, Ruths voice and topics feel darker and maybe richer somehow, but the vibe here is as light as a seagull who got tricked into following the Connecticut River up from the Long Island Sound. Backing herself with circular acoustic patterns, her voice recalls the sweet charm of Sandy Denny when she was with the Strawbs, or the way Joni Mitchell covered Leonard Cohens “Urge for Going,” in 72. Rendezvous with Rama is a classic piece of volk vinyl, and you will be damn pleased to have it in your collection." - Byron Coley, 2015.

Artist: GENDRON, MYRIAM
Title: Bric-à-brac/The Small Hours
Format: 7"
Label: Feeding Tube
Country: USA
Price: $13.00
"Following her acclaimed 2014 debut LP, Not So Deep As a Well (FTR 146-3LP), Montreals Myriam Gendron has created musical settings for another pair of Dorothy Parker poems -- Bric a Brac and The Small Hours. The slow, sensuously beautiful combination of Myriams voice and guitar, combined with dolorous genius of Parkers words is as intimate as ever. The pairing is seamless and natural, conveying an instant warmth that is a wonderful way to see out the winter, hailing the spring on our doorstep, with hints of the endless circle of seasons to follow. With a letterpressed sleeve and insert by the brilliant Kiva Tanya Stimac of Popolo Press, this record is a rare and special object." --Byron Coley, 2015

Artist: GENDRON, MYRIAM
Title: Not So Deep as a Well (Myriam Gendron Sings Dorothy Parker)
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
2016 version on black vinyl. "The debut LP by Montreals Myriam Gendron is one of 2014s signature releases. Feeding Tube had previously been made aware of Myriam when she performed at the Michael Hurley cover tune showcase at the Casa del Popolo. That event, tied to lOie de Cravans publication of The Words to the Songs of Michael Hurley, introduced Myriam as a wonderful if spectral guitarist and singer, whose signature sound was as light as it was intoxicating. Her next performance was an event including the American poet Charles Plymell, and she debuted a set of material based on the poems of Dorothy Parker. Everyone was blown away. Plymell and Gerard Malanga were effusive in their praise of her work, and when a tape fell into the hands of Richard Meltzer, he agreed that Myriams approach to the material attained a singularity of loss that had not yet been approached. The set was a stun gun, set on its highest possible notch. It blew away anything similar, and achieved a wordy beauty that both buggered description and celebrated itself. Parkers poetry -- though little-known in comparison to her prose -- offers many possibilities of both beauty and humor. Myriam grabs every edge availed to her, and does so beautifully. This album glows with holism and is one of the most beautiful evocations of times past and present and future you will hear. Edition of 500." - Byron Coley.

Artist: GENTA, DAG STIBERG, JON WESSELTOFT, DAVID VANZAN, VIRGINIA
Title: Det Kritiske Punkt
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Spine-tingling free improv fire-blast from an international quartet with deep underground roots. Italian reeds player Genta and drummer Vanzan form the basis for all Jooklo aktion (Duo, Golden, Stellar, et al.). Norwegian reeds dude Stiberg and guitar/electronics manager Jon Wesseltoft also collaborate in Maranata. Together in Olso in 2012, the quartet laid down this very hard-blown and stylish session. There are let-ups in the attack, but there arent many. Broken into five parts, Det Kritiske Punkt (The Critical Point) surges along like an unbroken chain of climaxes. Even when one or two of the instruments start to move laterally, as though things are preparing to wind down, the other two almost invariably get more sput in their gutteral sails and start to howl like their brain stalks are under attack. The only real break comes on Pt. III where it starts to sound like one of the AACMs little instrument jamborees. But that is a feint. Soon enough youll feel your scalp begin to raise again. And its off to the races we go. One does not generally think of the Italians and the Norwegians forming an affinity group. But they do share a love of fish. And perhaps sometimes thats enough." --Byron Coley, 2015.

Artist: GILLIG, BRYAN
Title: Cave Trilogy - A Barricade, A Tigress, A Shadow
Format: Triple LP
Label: Feeding Tube
Country: USA
Price: $34.00
"A few years back, Bryan Gillig was the frontman of the great Turners Falls MA band, Loudville. Plans were broached for a record, but nothing ever worked out and Loudville quietly devolved into pumice. A while later, Feeding Tubes Mr. Lee became enamored of a cassette of songs Bryan recorded in his car. Before anything could be done with that, however, Bryan reported back that he had recorded most of his repertoire under a bridge, by the banks of the Connecticut River in Turners. It was a lot of stuff, but it was fucking cool, so here ya go. Bryans songs are nearly open-form in spots, and sometimes push against the bounds of known völk traditions. In other places, his approach recalls bits by the early 70s New England troubadour, Jaime Brockett. There are even points where his attack is reminiscent of Roky Erickson, circa The Holiday Inn Tapes. For an approach as minimal as Gilligs, he manages a surprising amount of variety on Cave Trilogy. The vibe is akin to being invited to enter a van full of smoke, only to discover that a river runs through it. Quite amazing in a low-key kind of way. The three albums ebb and flow with a rhythm as natural as the watery backdrop for the recording session. Some of the tunes are as tight as John Sebastians hat, others ramble like Vince Martin wasted on reds. Together, they form a full afternoon of toasted deliciousness. Its almost like stumbling across the long-lost solo recordings of an ex-member of Spirit in the Flesh(Turners legendary commune band of ages past). If you dont dig this one, youre definitely clenching too tight." - Byron Coley, 2015. Limited edition of 200 copies.

Artist: GIRLS, THE
Title: Punk-Dada Pulchritude
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Pretty much everybody youd ever trust in such matters has, at one time or another, stated clearly that The Girls were the best band Boston ever produced. Their 1979 “Jeffrey I Hear You” single on Pere Ubus Hearthan label is one of the high points of American art-punk by any standards you can imagine. Everyone who ever saw them play live was floored by the sheer craziness of their approach. And their songs were strange, great, and uniquely their own. Mark Dagley, Daved Hild, Robin Amos, and George Condo came together in dribs and drabs over the course of two years. Slowly growing in number as their material became more complex and zoned, they were a quartet by the time they packed it in at the end of the 70s. But this album presents swabs of their earliest work. Some of it is just Mark and Daved. Then Robin joins. Then George. And you can hear and feel their palette expand and mutate. Some of the songs here are protean versions of subsequent classics. Others are the first evidence of experiments that came and went before they could even be played at gigs. And its all goddamn incredible. Just as Pere Ubu -- a band that was The Girls most important booster -- created entirely new sounds and approaches to their material in order to get the stuff across, so The Girls blasted through Bostons late-70s underground with a fully weaponized art-punk approach that destroyed minds with regularity. Massive stuff. Enjoy" - Byron Coley, 2015. Limited edition of 800.

Artist: GREAT VALLEY
Title: Continental Lunch
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"The third album by Brattleboros Great Valley, who walk as equals amongst the woggly dream-pop giants from the charted region of the upper Connecticut River Valley. Like their brethren, Happy Jawbone (a member of whom surfaces hereon), Great Valley concoct a strange type of pop music, with certain similarities to musicians as disparate as Californias Van Dyke Parks and Pennsylvanias Strapping Fieldhands, without yielding a single woof of their Brattleborian distinction. Blanche Blanche Blanche is also represented here by Zach Phillips, but Great Valleys take on the Southern Vermont ethos remains unique. Much of the sound on Continental Lunch has a pointedly ruralist base. Individual notes could be credited to ZZ Top or even members of the Capricorn Records cabal, yet when you engage with the entirety of their sound there is little chance of confusing them with anyone else. Their craft in creating a murky, muddled wall of sonic puh is strange, meaning its far from usual. Instrumental passages have the crudeness of a carnival band, but these link with vocals bearing the lush potency on any mock-Beach Boys hybrid you could name (even the Rip Chords), albeit with a post-punk compositional modernity that buggers easy comparison. Every song on the album here shifts mood and mode as handily as Tura Santana shifted her hips in Faster Pussycat. There are odd blips of neo-electronic pop, whichre immediately subverted by drunk sailor vocals. There are pieces of Matt Valentine/Neil Young vocalese that implode of their own volition in a shower of warm, swallowed sputum. Therere blurts of patented Boro ganged chorus parts that refuse to stop acting drunk. If this is not one of the most low-keyed balloons of berserk psych blow-uppery, you should give me a list of other contenders. Because you are wrong. The more you listen, the wronger Continental Lunch is. What could be a higher compliment? Edition of 300." - Feeding Tube.

Artist: GREAT VALLEY
Title: Continental Lunch
Format: LP
Label: Feeding Tube
Country: USA
Price: $24.00
"The third album by Brattleboros Great Valley, who walk as equals amongst the woggly dream-pop giants from the charted region of the upper Connecticut River Valley. Like their brethren, Happy Jawbone (a member of whom surfaces hereon), Great Valley concoct a strange type of pop music, with certain similarities to musicians as disparate as Californias Van Dyke Parks and Pennsylvanias Strapping Fieldhands, without yielding a single woof of their Brattleborian distinction. Blanche Blanche Blanche is also represented here by Zach Phillips, but Great Valleys take on the Southern Vermont ethos remains unique. Much of the sound on Continental Lunch has a pointedly ruralist base. Individual notes could be credited to ZZ Top or even members of the Capricorn Records cabal, yet when you engage with the entirety of their sound there is little chance of confusing them with anyone else. Their craft in creating a murky, muddled wall of sonic puh is strange, meaning its far from usual. Instrumental passages have the crudeness of a carnival band, but these link with vocals bearing the lush potency on any mock-Beach Boys hybrid you could name (even the Rip Chords), albeit with a post-punk compositional modernity that buggers easy comparison. Every song on the album here shifts mood and mode as handily as Tura Santana shifted her hips in Faster Pussycat. There are odd blips of neo-electronic pop, whichre immediately subverted by drunk sailor vocals. There are pieces of Matt Valentine/Neil Young vocalese that implode of their own volition in a shower of warm, swallowed sputum. Therere blurts of patented Boro ganged chorus parts that refuse to stop acting drunk. If this is not one of the most low-keyed balloons of berserk psych blow-uppery, you should give me a list of other contenders. Because you are wrong. The more you listen, the wronger Continental Lunch is. What could be a higher compliment? Edition of 300." - Feeding Tube.

Artist: GREAT VALLEY
Title: Lizards of Camelot
Format: LP
Label: Feeding Tube
Country: USA
Price: $24.00
"Vinylization of an extremely blopsy concept album originally released by NNA Tapes. Great Valley are (or were? not sure) a Brattleboro duo -- Jo Miller-Gamble and Peter Nichols -- who could be joined at times by any of various Southern Vermont locals. On Lizards, the local club includes Chris Weisman, Luke Csehak, Ruth Garbus, Zach Phillips, and others. More recently, however, Jo and Peter have decided to form a new trio with Danny Bissette (whos been playing live with them), and thats called Grape Room. Whether or not this supplants (or merely supplements) Great Valleys existence is not immediately obvious, but we look forward to Grape Rooms purple spew. In the meantime, theres Lizards of Camelot to think about. The album is a song cycle that seems to be about reptiles (perhaps with outer space connections) strolling about Arthur Pendragons keep in the days of the 5th century, eating grapes, thinking about kicking Mordreds ass, and whatever else knights did back in those days. The music is a blend of experimental sound treatments and willfully off-center pop spinnery and even if you can follow the story youll find the pressure inside your head building to a dangerous degree as you take it all in. Are there hits? Yes. Are there videos? Yes, again. Tune in to Outerspace Garden or Lakey Lady and begin to deal with the repressed memories you have of your days with scales and armor. And if you want to purchase the highly therapeutic LP, act fast. Of them, there are but few." - Byron Coley; Edition of 200.

Artist: GREY SKULL
Title: Damaged III
Format: LP
Label: Feeding Tube
Country: USA
Price: $25.00
"While we were playing the test pressing of this album, the UPS guy came in with a package. He looked at the speaker and said, Sounds like that babys busted, champ. Chris and I looked at each other and jumped him, popping his eyes out of his head and dragging him into the back room to drain his blood amidst the back stock. Damaged III is that kind of album. Back when I lived at the Believers House in Easthampton, Grey Skull Manor was just downstairs and we would often feel the evil emanations seeping through the floorboards. Of course, this was long before the trio hung up their horned hats and went straight -- George Myers becoming a yuppie movie booker, Jeff Hartford forming the Jeffrey Hartford Sextet Plus One, and Dan Cashman founding the... Fribbles. Back in those days, there was no room for Milkshake Rock amongst these cavemen. Their sound is a perverse improv/noise/metal/core hybrid that makes ones ears bleed with the sheerest pleasure imaginable. Years in the making, Damaged III takes its blueprint from a Black Flag boot cassette called Damaged II. The idea was to take elements of that specific set of tunes and emphasize aspects of them that would deform their intent and meaning. No effort was made to replicate Rollins vocals (indeed, it sounds like theyre all gargling hot dinosaur jizz), but instrumental and lyric samples form the basis of the compositions. An extraordinary, dare I say, Herculean effort by three guys I just previously thought were a menace to society. That was before the Fribbles, of course. Coming to a town near you! Edition of 200. Hand-glued covers." -Feeding Tube.

Artist: GUERILLA TOSS
Title: 367 Equalizer
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Vinylization of a recent Infinity Cat cassette, 367 Equalizer is a one-sided slab of belligerent art damage. The feel of this session is more tempered than that of their wigglesome debut LP, Jeffrey Johnson (as well as their second LP, which shall go nameless). The discordian elements of post-no-wave edge and Brooklyn basement glue party remain, but some of the looser jags have been hauled in and buffed like a fine pair of loafers. This is still definitely the sound of young people, but not in a way that grates on my old mans sensibilities. One of my favorite prog albums was recorded by Pete Browns band, Piblotko, and its called Things May Come and Things May Go, But the Art School Dance Goes On Forever. The sentiment expressed by that title inhabits the music here. It acknowledges a variety of parallel continua, while adding a fresh layer of creative loam that will surely be plundered by subsequent generations of brats. Its an endless worm of processing and renewal, and only time will tell if this Boston quintet ultimately manages to survive the rigors of the eat-and-be-eaten dictates of the form, but this is a damn good effort. It will be sure to please those amongst us who are still young in tongue, even as we become long in tooth." - Byron Coley.

Artist: GUERILLA TOSS
Title: Jeffrey Johnson
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"Debut LP session by a young Boston-based quintet who hit with all the Dionysian power of a young Harry Pussy, squared and electronified. Kassie Carlsons vocals have all the upper register urgency once manifested by the great Adris Hoyos, and her bandmates manage to create large stugs of post-punk angularity, overlaid with truly dithersome electronics. The result is one of the first transcendent post-no-wave records of our era. Live, Guerilla Toss create an amazing and beautiful disruption of all known truth-fields. They function at a level of pure discordian creation so pure, it is guaranteed to melt all but the stoniest witnesses to its blazing infirmity. But the album, Jeffery Johnson (named after the most elusive member of Jack Blacks legendary Johnson Family, as well as the author of the records cover art), manages to work beautifully as a collection of songs, rusty and scrappy, but songs nonetheless. Guitars weevle off into the atmosphere, key chords emerge like one of Adele Berteis lost tampons, drums cuss sullenly -- its an amazing mess of sound-bed for our heroine to caper upon. Get yours now or pine for it later. Your choice." -Feeding Tube.

Artist: GUERILLA TOSS
Title: Jeffrey Johnson (Color Vinyl)
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
Originally released in 2012. Available in two different colors: clear beer, transparent blue. "Debut LP session by a young Boston-based quintet who hit with all the Dionysian power of a young Harry Pussy, squared and electronified. Kassie Carlsons vocals have all the upper register urgency once manifested by the great Adris Hoyos, and her bandmates manage to create large stugs of post-punk-angularity, overlaid with truly dithersome electronics. The result is one of the first transcendent post-no-wave records of our era. Live, Guerilla Toss create an amazing and beautiful disruption of all known truth-fields. They function at a level of pure discordian creation so pure it is guaranteed to melt all but the stoniest witnesses to its blazing infirmity. But the album, Jeffrey Johnson (named after the most elusive member of Jack Blacks legendary Johnson Family, as well as the author of the records cover art), manages to work beautifully as a collection of songs, rusty and scrappy, but songs nonetheless. Guitars weevle off into the atmosphere, key chords emerge like one of Adele Berteis lost tampons, drums cuss sullenly - its an amazing mess of sound-bed for our heroine to caper upon. Get yours now or pine for it later. Your choice." - Byron Coley, 2012.

Artist: GUERILLA TOSS
Title: Smack the Brick
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
Edition of 400. Includes download code. Plays at 45 RPM. "Slight line-up change in GT brings new faces to keyboards and bass, resulting in a rather plumper (and, dare I say, more soulful) bottom, without removing any of the pony-rending upper register dynamism we have all grown to love. This new width also adds a certain slinkiness to a few of the evil cheerleader routines that are part of Kassie Carlsons magic kit. The band spins out streams of thick repeato-riffery, while Kassies vocals exhort everyone to explode. Word on the street is that GTs new label has big things in store for them. So Smack the Brick is either gonna be viewed as the end of one era or the beginning on another. Either way, GT continue to punch above their weight, swinging like a drunken street fighter in Bostons Combat Zone whose chest just happens to emit strange keyboard sounds from time to time. Peter Kalyniuks great cover art tells the whole story -- your head is a temple. But it is also full of snakes." - Byron Coley, 2015.

Artist: GUERILLA TOSS/SEDIMENT CLUB
Title: Kicked Back Into The Crypt
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Although the cover makes this look like theres a goddamn Voivod reunion afoot, the sounds are a mighty pleasure to behear. This release pairs Bostons amazing quintet, Guerilla Toss, in their most explosively whacked set yet, and NYCs Sediment Club, a trio with literal blood roots in the late 70s Lower East Side grunt scene. The Guerilla Toss side is a bit less high-pitched than previous efforts, and manages to create a bizarrely shifting clot of sideways-moving aural mung that is obliteratively perfect. They craft and destroy riffs, rhythms, and melodies faster than most bands can turn on their amps. Hard to figure out what, exactly, it is theyre doing at times -- whether its part of a thought-out process or just a random jumble of found parts. But the more you listen to it, the more their music achieves a strange holism. The patterns and parts actually fit together really well. Theyre just moved around in much the same the way the early Boredoms jiggered popular logic -- with personal calculus and great power. These guys will make yr tongue bubble like a whale. Sediment Clubs side is the best evidence theyve yet produced of their wild syncretic power. Combining the rough stubbing of classic no wave aktion with the warm mud of Lower Manhattan garage-blues, theyve done everything Lydia Lunch attempted to do with the Devil Dogs. Somewhere between Mars, Rat at Rat R, and the Chrome Cranks, Sediment Club make a beautiful noise that manages to function as both anti-rock and rock-qua-rock at equally high levels. Evil-sounding beauty at its finest. Lets hope for a long tour by both of em. Edition of 600." - Feeding Tube

Artist: HAPPY JAWBONE FAMILY BAND
Title: Hotel Double Tragedy
Format: LP
Label: Feeding Tube
Country: USA
Price: $14.00
"Edition of 250. The Hotel Double Tragedy is constantly burning. You will be too with these new hits from the family! Simply listen to the album at a decent volume and watch your life fall apart. We were thinking of releasing this album under the pretense that it was found under the bed of a dead priest who was the grandfather of a couple of members of the Vaselines, but we thought better of it. You deserve the TRUTH! You deserve magic in POP ATTITUDE! You deserve ONE ANCIENT JANGLE! In ten seconds FLAT! You deserve HOTEL DOUBLE TRAGEDY! Get one today for yourself or for someone you care about." -Feeding Tube

Artist: HAPPY JAWBONE FAMILY BAND
Title: OK Midnight, You Win
Format: CD
Label: Feeding Tube
Country: USA
Price: $14.00
"The second LP (fifth album) by this Vermont/Colorado quintet finds them traipsing ever deeper into the kind of mythic American territory we usually associate with bands who view our landscape from far outside its windows. Think of Australias Triffids or New Zealands Renderers and cross their brilliant Southern Hemisphere inventions with truths only wrenchable from the heart of the beast. Theres a genuine ruralist hoot factor here so smooth that it hits like a ton of silk, but theres enough killbilly undertow to keep everyone standing nervously around that jug of magic moonshine" - Feeding Tube.

Artist: HAPPY JAWBONE FAMILY BAND
Title: OK Midnight, You Win
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"The second LP (fifth album) by this Vermont/Colorado quintet finds them traipsing ever deeper into the kind of mythic American territory we usually associate with bands who view our landscape from far outside its windows. Think of Australias Triffids or New Zealands Renderers and cross their brilliant Southern Hemisphere inventions with truths only wrenchable from the heart of the beast. Theres a genuine ruralist hoot factor here so smooth that it hits like a ton of silk, but theres enough killbilly undertow to keep everyone standing nervously around that jug of magic moonshine" - Feeding Tube.

Artist: HAPPY JAWBONE FAMILY BAND
Title: The Complete Hotel Double Tragedy
Format: Double LP
Label: Feeding Tube
Country: USA
Price: $24.00
"Released in foreshortened single LP format back in 2010, the new edition of this masterpiece of Brattleboro form manipulation is allowed to breathe across two full long-players, and were all a lot better off for it. Allowed to sprawl across a couple of albums, a booklet of text and a download card of yet another album, Happy Jawbone Family Band achieve a rare freedom here, assembling a complete imaginary universe that combines surrealist wordplay with woozy Dunedin-style form-grabs. Composed of seven (or so) people (it changes with the weather), the band seems capable of almost anything. At one moment they can be doing what sounds to be a flamenco version of the Germs "Lexicon Devil" then turn on a dime and resemble the Terminals doing one of their death-chug-sea chanteys. Its weird, this Brattleboro thing. All the bands there sound pretty different from one another, but they all sound like they smoke cheeb as though it were legal. There is a stoner logic to Complete Hotel thats so damn wonderful itll just about suck yr clothes off. As was demonstrated to the world on their Mexican Summer comp (which was in print for what? three hours?) HJFB put songs together in a way that pleases them, and damn the torpedoes. You can hear traces of absolutely anything inside their sound -- Four Seasons, Van Dyke Parks, Dave Davies, Plagal Grind -- but their mutational heat is so heavy, after youve dug a few notes you realize it could never be anyone but them. Complete Hotel Double Tragedy is the first time HJFB have gotten a chance to expand in all directions at the same time. And it is so cool, youll grow a new tit. We promise! Edition of 600. Housed in a gatefold sleeve with a 32-page booklet." -Feeding Tube.

Artist: HERRERO, VICTOR
Title: Astrolabio
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"The Portuguese guitar is a kind of weird instrument. It has a teardrop shaped body, twelve strings, an odd tuning scheme, and is generally associated with the mournful Portuguese musical style called fado. Its not often used as an improv instrument, especially in avant-garde settings, but that was before Victor Herrero got his hands on one. Probably best known for his work with Josephine Foster, Victor is a Spanish guitarist and composer, whose work ranges from very traditional to beyond contemporary. On a trip to Lisbon a decade or so ago, he and Ms. Foster became enthralled by the glittering tone qualities of the Portuguese guitar, and decided to go halves on one. A lot of wood-shedding and investigating various musical forms ensued, as the guitar traveled around Spain and then the rest of the world with the pair. It was used as part of a show with Keiji Haino in Japan. It figured into a recording session with some of the Master Musicians Of Jojouka. It was noted performing duets with saxophonist Sonny Simmons. And so on. Removed from its parochial context, the instrument showed itself to be an incredibly limber and adaptable axe. Astrolabio is an album of solo compositions and improvisations for Portuguese guitar that defies easy classification. Its tone is so bright and folky it almost sounds like a hammered dulcimer in spots, but Jean Ritchie would probably keel over if she heard this record. At times, Victors playing emphasizes the ethereal beauty of the strings natural vibrations, but he can also create insane rafts of sound with Northern African rhythms crossing swords with chunks of string sound as mysteriously fried as anything ever done by Loren Connors. Totally boss, and unlike anything weve ever heard before. Prepare thyself to deal..." - Byron Coley, 2016. Edition of 500.

Artist: HI SHERIFFS OF BLUE
Title: NYC 1980
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"The No Wave era of NYC was a short, dark flash of energy that was extinguished almost as soon as it was noticed. It happened so goddamn fast that if you missed the imaginal cut-off for inclusion by a few fucking weeks, you were forever written out of the picture. Believe me. Thurston and I wrote the book on this goddamn scene, and the Hi Sheriffs were just outside our temporal markers, despite the fact theyd played Tier 3, the Mudd Club and everywhere youd think would matter. But look, they were as second gen No Wave as the Raybeats, the Bush Tetras and Eight Eyed Spy. If you have to ask why that was, and why such things were a matter of weeks rather than anything else, I dunno what to say. Its just how it was, and we all knew it. Shit moved fast. The fact that the Hi Sheriffs were devolved from the Girls -- the BEST band Boston ever birthed, as well as the only non-CLE band to ever record for Pere Ubus label, Hearthan -- did not mean shit. They were perhaps only weeks too late to make the No Wave cut (something theyd immediately wanted to hit after the Girls played Tier 3 with Basquiats band, Gray), but hey -- even Gray is a tad late for my taste. Still, musically, this quartet -- Mark Dagley and George Condo from Bostons Girls, Seth Weinhardt and Beth Fowler from RISDs Bachelors Of Art -- blew my mind. I first saw them at Tier 3, and they were like a crazed version of DNA playing the blues. Mark brought the first single up to the NY Rocker office a while later and Andy recognized the cover he was doing, but I assumed it was all just blown brain originals. Little did I know. This album is mostly made up of pre-first single live and rehearsal stuff, and it is just the sort of raw madness everyone wants to hear all the time. Even Lydia Lunch liked em. She did not record with them until later -- not long before shed begin her Devil Dogs project -- but even she knew she was beyond No Wave at the point of Eight Eyed Spy. It was a weirdly specific scene in many ways. But sonically, it bore lots of fruit. And one of the first, best and most blues-wailingest of its proponents was the Hi Sheriffs Of Blue." --Byron Coley; Includes a download card. Edition of 500.

Artist: HOLLOW DECK
Title: Hobsons Choice
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"The debut LP by this Western Mass duo is a masterpiece of fractured air. The two performers are Andy Allen (from the original line-up of Guerilla Toss, among many other places) and Mia Friedman (whose collaborations apart from this include Lichen and appearances with Lauri McNamaras Carbuncles). Previously issued as a cassette, Hobsons Choice is a blend of traditional and experimental approaches that alternately puts us in mind of several units inhabiting the landscape of Strange Maine over the last decade, and the animated 30s cartoons of Max Fleischer. And Hollow Deck have a unique way of quivering between their two main style poles guaranteed to put hair on anyones chest. From its first song, the album is a bridge between beauty (as personified by Mias singing voice) and odd instrumental work that moves from clutter to clack to clam in the space of a blink. A few of the tracks are so sweetly arranged -- rural voice and flute gliding above warm fields -- that it almost feels like insanity is on the wind when the musical proceedings turn dark and unruly. But, as in life, they always do eventually, if only for the nonce. Before you know it, the scene turns into a nursery room theatrical with mice in white gloves capering while the cat naps. Other gorgeous bits recall Joanne Robertson at her most elegiac, singing along to a broken record. Then flutes join the fun, as though representing a pack of wolves mourning the death of the moon. Hobsons Choice is filled with many other such seemingly contradictory juxtapositions. Letting them flow through your head will free you -- if only for a moment -- from the world around us, delivering you somewhere new before snatching you back to reality. Enjoy the trip." - Byron Coley, 2016.

Artist: HURLEY, MICHAEL
Title: Redbirds At Folk City
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"Heres an expanded vinylization of a boss live show from Snock and his Vermont roustabouts, recorded at Folk City on July 17, 1976. Most of it was first issued back in 88, as side two of the Land of Lo Fi/Redbirds cassette on Bellemeade Phonics. But some new masters showed up subsequently, so theres an extra song and a half available for your listening pleasure. And pure pleasure is what it is. I always believed I had seen Hurley play somewhere in NYC before this. I thought maybe it was during the Unholy Modal Rounders stint at Broadway Charlys, but Woodbill has continuously disabused me of this notion over the years. By his count, there were zero Manhattan Hurley shows until after the release of the acclaimed Have Moicy! album in 1976. And he oughta know. Consequently, this was probably the first time Hurley brought his band out of the hills. Guitar, bass, drums, piano and trumpet, all of them beautifully in sync and swinging like the rural hippie boogie band they were -- tested by long nights in halls filled with rowdy snowmobilers and the women who love them. Hurley & the Redbirds were more than ready to bowl over the city slickers who filled Folk City this hot mid-summer evening. Snocks voice is limber and strong, flipping easily into falsetto and yodels, and the music is faultless. Something like the Platonic ideal of what bar rock can be. They only do one tune from Have Moicy!, but nobody could have minded. The music rolls out like the sweetest-ever guzzle of maple syrup laced with Mello Corn Whiskey. So loaded, so powerful, youre likely to shit the bed if you listen lying down. So hop right up, and let the music shuffle your feet around for you. Youll be glad you did. Besides the boss sounds, this issue includes liner notes by Snock recalling the scene around Fairfield Vermont back in the summer of 75. Its a very nice read. Count yourself lucky. Dont delay." --Byron Coley, 2017. Edition of 2000.

Artist: ID M THEFT ABLE/CAVE BEARS
Title: Zone Y Ponds Y Sugars Ive/Germicide
Format: LP
Label: Feeding Tube
Country: USA
Price: $14.00
"180 Gram Edition of 450. A split between two of New Englands most bizarre and mysterious artists with cover art by Matthew Thurber. The two sides couldnt be more different. Guaranteed to please half of the listening audience! Id M Theft Able uses electrified glass tables, springs, string bows and tape records to create organic interpretations of digital garbage beauty. This multi-act "mess play" is one of the highlights of his extensive discography. Cave Bears has done everything from smash light bulbs, pour mud across the floor, wear costumes made out of (operating) electric fans and (full) watering cans, and bang on buckets while suspended upside-down from a tree throwing fireworks while singing "Better Git Reddy Fer Judgement". On this record they suspend the Germs "Forming" in a crystallized state for 19 minutes of "just learning how to play our instruments with extra lo-fi slime effect." -Feeding Tube

Artist: IGNATZ
Title: The Drain
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"For the last decade, Belgian guitarist Bram Devens has been releasing solo recordings under the name Ignatz. A couple of cassettes have come out in the States, but most of his releases have been elusive imports. Thus, we have taken it upon ourselves to do a public service and release a domestic version of an LP that will appear on the (K-RAAK-K) label in Belgium. This must be something like the sixth or seventh studio album Ignatz has cut, and its a remarkably solid slab of mysto-folk/blues invention. There are more vocals than noted on previous Ignatz slabs weve encountered, and they manage to remind us of everyone from early Townes Van Zandt (The Watertower) to Karen Dalton covering Play with Fire (People in This Town). The way Brams voice lazily combines with the loose guitar playing sometimes makes the album sound like a mutant hybrid of early Jandek and mid-period Hurley. The rhythms and melodies go in and out of focus with a beautiful irregularity that demonstrate them to be the work of a true original. Playing what sounds like a mix of acoustic and lightly amped guitars, Ignatz hits Krazy Kat square in the bean with this one. And we all see stars. Tell Officer Pup the news." --Byron Coley, 2016. Limited edition of 500.

Artist: JACK RUBY
Title: Jack Ruby
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
2016 repress. "Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and -- chuffed by the fact wed name-checked the band in the book -- some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the bands story continued to roll out. Theyd actually formed in 1973 withBoris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. Theyd done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. Hit and Run and Mayonnaise are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. Thats Bored Stiff, Bad Teeth, and Sleep Cure. The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound theyd evolved. The last one was in November 77 at Maxs withVivienne Dicks then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless." --Byron Coley; Edition of 600. Includes download code with purchase. Volume Two coming soon. Still copies of the original POLICEBAND single available.

Artist: JACK RUBY
Title: Jack Ruby (Volume 2)
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"When Don Fleming was doing the initial transfers of the tapes wed gotten retrieved from Randy Cohens barn, every evening seemed to bring a new surprise. But nothing was a bigger jawdropper than the material which makes up the second LP of our Jack Ruby archival series. The central core of the album is the 16 & a 1/2 minute track, "Destroy/Lost," recorded at the bands rehearsal space in January 74. Robin Hall vocalizes and Boris plays electric viola, but the bulk of the piece is screaming analog synth weirdness from Randy Cohens Serge synthesizer. According to Robin, the track was recorded in hopes that it might be pared down to a single. Hard to imagine how the hell it mightve been done (or in what universe), but it is a masterpiece of long-format insanity -- with Boris and Robin providing a context for the massive gallumping of the Serge. Additional players appear on some of the shorter tracks -- new music/free jazz saxophonist, Pete van Riper, on "Lithium Serenade"; Boriss electric viola on "Hydrogen Lullaby"; Chris Grays guitar on "Mandible Mambo"; Rich Golds Serge joins Boris strings on "Ghost Note." The rest is the product of Randys whacked-out compositional notions and his mastery of the Serges patch-cords. Some of the material was recorded pre-Jack Ruby at Cal Arts (where Randy and Boris first met). The rest was from a performance in New York in early 74. Heard as a whole, it is a bizarrely shaped piece of the pre-punk/free-form puzzle that was Jack Ruby. Buckle up. Its going to be a bumpy ride." --Byron Coley; Includes download card. Edition of 600.

Artist: JOHNSON, HERMIONE & STEFAN NEVILLE
Title: Scrum
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Hermione Johnsons name is one we first noticed when she popped up playing prepared piano on the newish Pumice LP, Puddle. But a quick check through her stats reveals a more extensive background in the New Zealand improvised music scene Shes got a few CDRs with other free jazz types that predates the Puddle session by years. So sue us! Due to the damped quality of prepared keyboards, theres a distinctly percussive element to Hermiones playing. At times the effect is fully gamelanic, but for the most part her work broadcasts a feel akin to certain modern pianists of the middle 20th Century, with a tone (if not attack) that mirrors Conlon Nancarrows work with player pianos. On this duo improv set, Hemione plays prepared piano on most of the tracks, and Stefan Neville (he, of Pumice, natch) mostly playing drums. Its a highly intriguing format for performance, and while the music feels more contemplative than explosive, the engagement is deep and the motion is weirdly great. By naming the album after the weird millipede-like formation thats used on the rugby league pitch, the pair hints at the fact theyre kicking notes back and forth inside a closed circle, caring less about melodic or harmonic trajectory than the art of contact. And theres something very human and intimate about their process, in the finest tradition of free chamber music wherever its found. Why arent there more free jazz records coming out of New Zealand? Dont ask us!" - Byron Coley, 2016. Edition of 300.

Artist: JUSTICE YELDHAM
Title: Popped in the Head All the Time Now
Format: 12"
Label: Feeding Tube
Country: USA
Price: $18.00
"Justice Yeldham is the performing handle of Lucas Abela of Sydney, Australia. For the last five or so years, Justice has taken Iggy Pops early 70s experiments with glass-as-instrument to whole new vistas of bloody ruin. Where the Ig saw glass as something merely to shatter and slash with (rendering old Ben Franklins experiments with his "Amonica" quaint in the process), Justice uses shatterage as the capstone to a whole new quasimusical way of life. Yeldham takes salvaged sheets of glass and contact mics them, runs them through electronics, and blows the ever-loving shit out of them. Someone described him as "a trumpet player trapped in a two-dimensional universe" (to parse this reference, see Edwin Abbotts Flatland), and that sorta captures the gestalt of his performance style. Of course, the sound is something else again. Keeping the trumpet concept in focus, this record sounds like (your favorite trumpeters name here) attempting to blow the fever out of Lou Reed shortly after hed been bitten by a horse. Which means it has some of the same gaseous quality as most solo brass-qua-brass records, but it also seems have been processed through the diseased body of some former member of The Primitives. Originally recorded as part of the soundtrack to a film by Vincent Moon, Popped in the Head All the Time Now is sure to make 300 movie haters very, very happy." - Feeding Tube

Artist: KID MILLIONS & JIM SAUTER
Title: Million Dollar Band/Bull Run
Format: 7"
Label: Feeding Tube
Country: USA
Price: $9.00
"The extreme sonic textures of Borbetomagus Jim Sauter sounds bitchin in this kind of compressed environment. Playing in duo with the multi-directional thumping of Kid Millions, the sound is just a blaze of energy that expands in many known directions. Jims tone goes from pure saxophonic terror to something that sounds more like an over-amped guitar to synth-like shrieking. The pair throw down even harder than they have on previous sessions, and the world is a much more bruised place for their focus. Cover art is by the redoubtable Bill Nace" -- Byron Coley (2016) Edition of 300.

Artist: KOMMISSAR HJULER & MAMA BAER
Title: Amerikanische Poesie und Alkoholismus
Format: LP
Label: Feeding Tube
Country: USA
Price: $14.00
"180 Gram Edition of 500. "Officer Hjuler of the Flensburg police, and his wife Frau Baer give an earsplitting lecture on sound poetry on the A side and lull us into a state of American Alcoholism on the flip. This German duo has over 200 releases on their own lathe cut/cdr imprint and is quickly racking up international honors, album credits and acclaim. This is their largest LP release to date. One side is Kommissar Hjuler und Frau : ONCE AGAIN concrete poetry (or was it the song?) a collage of US-american sound poetry, collected by Jean-Francois Bory, presented by Kommissar Hjuler und Frau. "One side is Mama Baer : Alcoholisme - brut field recordings with mama baers voice and treatment. "Amerikanische Poesie... is the duo at their most hilariously alienating and crudely sophisticated." -David Keenan in WIRE "this is, naturally, a batshit-crazy affair, with the two absolutely howling over the purported “legacy” materials (through a fender princeton from the sound of things) - its both terrifying and oddly inspiring (which sums up most of what makes this stuff so ... engaging)." -Keith Fullerton Whitman

Artist: KTB
Title: KTB
Format: Cass
Label: Feeding Tube
Country: USA
Price: $7.00
"KTB are Shawnie from Bugs & Rats and Arian from Guerilla Toss playing an aggressive, stripped-down game of noise rock Shenanigans® while lazy young people fall down all around them, scrunching up their faces and mewling. There is something very non-Bostonian about the duos sound. This doesnt mean it sounds Belgian or anything (although I suppose there are Belgian precedents in terms of guitar/thump/voice blending), more that its muscularity is diffused in a way thats rare in our Commonwealths capitol city. It still screeches and stubs its way along in a manner befitting the lovechild of the two aforementioned bands, but the anger of its delivery feels circular -- self-sustaining even. There will be no stomping tonight. Only the loud muffle of heavily drugged horses and their weary uncloaven hooves" --Byron Coley, 2015. "For fans of Guerilla Toss, Bugs & Rats, Skimask. Limited edition of 150." - Feeding Tube.

Artist: LENTILS, THE
Title: Brattleboro Is Flooding
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Luke Csehak sounds like a man who has had some troubles. But like the weird alchemy that made Todd Rundgrens early 70s sides so crucial, this new Lentils album manages to work as a damn-near-joyful explosion of (or maybe from) pent-up emotion. And it sounds beautiful. As he demonstrated ably with his former band, Happy Jawbone, Lukes creative engine is a weirdly canted turbine of distemper. His best songs are always moving along and falling apart at the same time, and so it is here. Like all top-rated generators of skew-assed roots-pop, the Lentils never neglect hooks no matter how wiggly the music gets. Just when you start to figure everythings gone to total chaos, a melody rises from the urk to grab your aural worm and dive for the bottom. There are moments here that recall everyone from Big Star to the Grifters to some drunk guy who really likes Dion. It manages to have a continuously riveting folk-rock center no matter which direction it turns. And man, it turns plenty. We suggest you do the same" - Byron Coley, 2015. Edition of 300. Co-released with BUFU Records.

Artist: LENTILS, THE
Title: My Pillow Lava Part One: My Deaf Son
Format: LP
Label: Feeding Tube
Country: USA
Price: $19.00
"First physical evidence of the "band" that entered the room when Happy Jawbone departed. And its a beaut. Pressed on clear vinyl with a silkscreen on the blank side (a la Albert Aylers Bells on ESP), packed with a 16-page book of Luke Csehaks notebook fragments, the record is a compendium of ideas that were once lost but are now found. For live performance, The Lentils have now assumed some sort of physical presence worthy of their sounds wide hips. But at the time of this recording, the project was solo Luke. He did the art for the vinyl, played all the music (apart from some Chris Weisman support on one track and some tootling from hippie prepsters from Putney) and poured a lot of weird soul into the effort. It is a goddamn stellar production. The music ranges from "The Wrong Song," perhaps the most blasted evidence yet of the mythical border that separate Brattleboro and Dunedin (a spectacular crevice filled with broken glass), to "The Wrong Wings," which has a jug band sound that would make Norman Greenbaum beam with pride. "Wings" even has some little psych guitar filigree that is pure Petaluma 72. Genius. Theres also the strange-strings attack of "Roaring Milk" and the strangled Wooden Wand approach of "A Pocket Full of Blood," which has the best Beck lyrics not written by Beck since "MTV Makes me Want to Smoke Crack." With My Pillow Lava Part One: My Deaf Son, Luke has created a kind of new lonesome stranger archetype that is both more lonesome and far, far stranger than any archetype that precedes it. What a treat for you. Edition of 200 copies." - Feeding Tube.
SOLD OUT

Artist: LOS CONDENADOS
Title: Yeppers!
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Three hot chunks of explosive improvisation fill the debut LP by Los Condenados, one of the Boston areas most resolutely form-destroying units. Blending electronics, woodwinds and vocals into searing blasts of audio-thuggery, Los Condenados create a gibbering racket that sounds like a collaboration between Voice Crack, the Synder/McPhee Duo, and Schimpfluch. Andrea Pensado, an Argentinian expatriate (by way of Polands Krakow Academy of Music), handles laptop and vocals. Her voice contains some of the birthing-terror described by Yoko Ono, but manages to fit itself into treated-packaged-sequences rather than long-form squack-yodeling. Her laptop work is the essence of beautiful noise. Jules Vasylenko plays invented woodwinds -- bamboozle sax and trombax -- with furious circular logic that makes him sound like Foghorn Leghorn screaming while bobbing on the ocean in a little raft. Walter Wright (who runs Lowells 119 Gallery, where the first side of the LP was recorded) is a fascinating electronics-fiddler as well. Small shrieking events pour from his set-up like bronco worms. The results have a riveting post-form logic, filled with small events that haul yr attention in, unlike many other abstract excursions we could name. The three pieces on Yeppers! were recorded live in Eastern Mass, during 2011 and 2012, and they will stroke the underside of yr taste-receptors so lovingly youll want to lick the damn record. But keep yr tongue-socks on, sport. Music is for listening. Not eating." - Feeding Tube

Artist: LOS LICHIS
Title: Dog
Format: Double LP
Label: Feeding Tube
Country: USA
Price: $28.00
"This deep into the internet era its unusual to discover a weird-ass band whove been active and recording since the 90s without ever appearing as a blip on any known radar screen. Yet, here are Los Lichis -- a Mexican music/art collective whose recording history goes back 19 years and whose sound is as powerful and strange as any combo around. Some might suggest that Mexico is not known for its underground sonic emanations, but weve long dug artists like Loch Ness, Chac Mool, Lorelle Meets the Obsolete, Los Llamarada, and various improv-types we hear about from folks who tour down there. Some of Mexicos punk and metal bands have their moments as well. But none of them on the scale of Los Lichis, formed in Mexico City by three visual artists. There is something very special about the way non-musicians approach music as an art-form. Its usually something they have long appreciated from afar, and they often attack it with a unique brand of amateur gusto mixed with a sophisticated conceptual approach. Los Lichis (named after a stray dog, not the tropical fruit) sound like a million different things from track to track and moment to moment. Ive been trying to map the evolution of their sound by cross-referencing the dates the material was recorded, but theres a delightfully shocking lack of standard technical advancement. This takes some doing. While they claim no specific musical influences, their sound is comparable (in parts) to Ritual All 7-70, No Neck Blues Band, Sun City Girls, Mako Sika and (especially) the French free-rock combos of the 70s -- Mahogany Brain, Red Noise, Gutura and so on. Insane free psych gush of the highest order. Dog reissues a privately released anthology, documenting Los Lichiss first decade recording. It was sold through art galleries in Mexico, and our version has a few additional notes. Prepare thyself." --Byron Coley, 2016. "Drinking In The Den Of Little Ears" features Bolita. Edition of 500 (numbered)." - Feeding Tube.

Artist: M2
Title: At Lands Edge
Format: LP
Label: Feeding Tube
Country: USA
Price: $29.00
"M2 is an East Coast-based duo comprised of two of the legendary Miller brothers, namely Roger and Ben. They have previously appeared together in such bizarrely protean ensembles as Sproto Layer and Destroy All Monsters, but they are probably best known for their work in autonomous formulations. Ben, most recently with the Glenn Branca Ensemble, Roger with Mission Of Burma (and all who sail with them). The music on M2s debut LP, however, is far from any of the rock-related moves with which theyve associated in the past. Both have serious bonafides in experimental/improvised sound, of course, but these take a new leap with At Lands Edge. Roger is playing heavily prepared piano -- something he has been obsessed with for many years. And Ben is handling an electric guitar with more modifications than anyone can easily count. The eight pieces they have created for At Lands Edge are entirely improvisational, but their sophistication and organization belies their purely aleatory roots. Indeed, the textures they create for their music buggers the very notion of piano/guitar interplay, substituting a shifting array of percussive and electronic field signals that recalls the smaller-format work of Italian improvisational units such as MEV and Gruppo di Improvvisazione Nuova Consonanza. An LP of pure wonder, At Lands Edge represents a beautiful challenge for adventurous listeners. Exquisitely recorded by guitarist Michael Bierylo, the album is a monster of form confusion, and we cant wait to catch the duo on tour. Dig it. Edition of 300." -Feeding Tube.

Artist: MAERCKS, OWEN
Title: Teenage Sex Therapist
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Owen Maercks Teenage Sex Therapist LP is one of the forgotten twisted pop masterpieces of the 20th century. Owen had been in Monster Island with Henry Kaiser, who proposed he do a solo album of his songs. Henry had moved back west by this time, so Owen went out and recorded this album there. Henry produced, and added amazing horn parts by Jon Oswald, Larry Ochs and John Gruntfest. The album was mixed, pressed and distributed exclusively to radio stations, record labels and the like, in the hopes of getting Owen signed. The music didnt fit any extant pigeonhole, however, so no deal was in the offing. About the only note of its passing was made by an A&R guy at Elektra, who swiped the arrangement (and lyric rearrangement) of "Little Black Egg" (originally by the Nightcrawlers) for use by his protégées, The Cars. Well, fuck them. Teenage Sex Therapist is ripe with jaw-drop moves. Flashes of Eno, Beefheart, Lou Reed, the Bonzos, and various of Owens other obsessions, fight each other for air-time. And everyone goes away a winner. If this one doesnt make your teeth wiggle, you need a new jaw." --Byron Coley; LP comes with a download card.
SOLD OUT

Artist: MAERCKS, OWEN
Title: Teenage Sex Therapist (Colored Vinyl)
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
2015 repress on maroon-and-red-swirl vinyl; includes booklet, lyric sheets, and download code. Edition of 500. "Owen Maerckss Teenage Sex Therapist LP is one of the forgotten twisted pop masterpieces of the Twentieth Century. Owen had been in Monster Island with Henry Kaiser, who proposed he do a solo album or his songs. Henry had moved back west by this time, so Owen went out and recorded this album there. Henry produced, and added amazing horn parts by Jon Oswald, Larry Ochs, and John Gruntfest. In 1978, the album was mixed, pressed, and distributed exclusively to radio stations, record labels, and the like, in hopes of getting Owen signed. The music didnt fit any extant pigeonhole, however, so no deal was in the offing. About the only note of its passing was made by an A&R guy at Elektra, who swiped the arrangement (and lyric rearrangement) of Little Black Egg (originally by The Nightcrawlers) for use by his protégées, The Cars. Well, fuck them. Teenage Sex Therapist is ripe with jaw-drop moves. Flashes of Eno, Beefheart, Lou Reed, The Bonzos, and various of Owens other obsessions fight each other for air time. And everyone goes away a winner. If this one doesnt make your teeth wiggle, you need a new jaw." - Byron Coley, 2014.

Artist: MAGNIFICENT PUSSIES, THE
Title: Mouth to Mouth
Format: Cass
Label: Feeding Tube
Country: USA
Price: $8.00
"There were we -- and by we I mean us -- starving, hysterical, naked, prowling the Hebrew streets at dawn, way the fuck out where Brooklyn meets Queens, searching for an angry snack. We did not find it, but we were hungry because we had just finished our first performance as The MPs at Dennis Tyfuss free funk festival in the hood. I was reading from the book of my writing Dennis had issued a year previously. Ted Lee was playing a cymbal he had borrowed from Dennis six months earlier, falsely promising to return it filled with fresh urine. Gary Panter was playing a guitar he had stolen from Denniss tropically decorated tour van only about an hour before we started. Panter -- more starving, hysterical, and naked than me and Ted put together -- had been saying he was going to play his teeth like a xylophone, but he saw the guitar sitting unnoticed, and knew a good chance when he saw it. Weve done more gigs since then -- mostly weddings and private circus parties -- but this one will always be special to us. Because it is out baby. And because he was the one who foisted off such a shitty group name on us, we forced Dennis to promise hed do the cover art for the release. He tried to get out of it, but Gary flew over to Utterdam (or wherever the fuck it is he lives) and promised to take a shit every day in front of Denniss apartment door until he complied. It only took three weeks! Hope you like it!" --Byron Coley, 2015. Limited edition of 200, letter-pressed. Designed by Sir Dennis Tyfus.

Artist: MANAS
Title: s/t
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"First LP by Manas, a duo comprised of guitarist Tashi Dorji and drummer Thom Nguyen. Tashi, whos based in Asheville NC these days, has been cutting a wide swathe through the guitar underground over the past few years. Originally focused on acoustic weaponry, he has added electric guitar to his arsenal, without giving up any of the weird angular bite of his initial work. Thom is known to have played with a couple of Asheville free rock bands, Nest Egg and Mendocino, but this is the first exposure his excellent work will be having outside of Buncombe County. As a duo, Manas explores lots of improvisational ground, ranging from extreme sideways expansions of sonics texture -- with Tashis guitar moving decisively outward while Thoms drums explode in a mostly (but not entirely) parallel plane -- to repetitive reflecto passages that curl up into a tight ball before achieving escape velocity. The record is a blast, with deceptively arch liner notes by none other than Ben Chasny, who has been one of Tashis loudest cheerleaders for many a moon. But we cant really blame Ben. This Manas LP makes us wanna shout about team spirit too. Guh! Guh! Guh!" --Byron Coley, 2015. Limited Edition of 400.

Artist: MARS
Title: Live At Artists Space
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"In May of 1978, there was a five-night music festival at Artists Space on Hudson Street in Tribeca. Although almost no one cared at the time, the event has since entered the halls of legend, as one of the signal events in the history of the no wave era -- one that managed to include both the Lower East Side bands and those fronted by their Western contemporaries. On the final night of the festival, the two bands playing were Mars and Teenage Jesus And The Jerks. What we are presenting to you today are both sets by Mars -- the most mysterious, and bizarrely-styled NY band of their day. One set takes up each side, and while they are similar in song selection, its wild to hear how different they are in terms of attack, sonics and approach. The quartet -- Nancy Arlen, China Burg, Sumner Crane, Mark Cuningham -- was never captured at its mutational best in the studio, but this live slab is revelatory. Tunings, structures and rhythms from a place Capt. Beefheart once called "the other side of the fence," this is Mars at their most glorious." -Feeding Tube.
SOLD OUT

Artist: MARS
Title: Live at Irving Plaza
Format: LP
Label: Feeding Tube
Country: USA
Price: $23.00
"The second volume of live Mars recordings from Feeding Tube. This one was recorded at the bands penultimate show, August 4, 1978, with spectral help from Rudolph Grey on the side-long take of "NN End." The quartet is at the full height of their power here, manipulating the language of tongue explosions both instrumentally and vocally. Recorded by Brian Eno, the sound is an advance from the galacto-fidelity of the Artists Space LP, and the performance is a staggering example of Mars in their final phase. This is a stunning example of the No Wave impulse in its most experimental and personal guise. The package also includes a download card for both Mars FTR LPs, as well as a 20-page booklet, "Mars As We Know It," which is an oral history of the band assembled by Byron Coley and Thurston Moore from interviews conducted for their No Wave: Post-Punk. Underground. New York. 1976-1980. book. Issued in an edition of 500 copies, Live at Irving Plaza is a beautiful souvenir of a woefully under-documented band." -Feeding Tube.

Artist: MARS
Title: Mars Archives Volume One: China to Mars
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Following the success of the two live LPs bookending Marss trajectory through the skies of NYC, Mark Cunningham was convinced to return to his legendary box of cassettes. Even he was surprised to discover the bands earliest shows (done under the name China) were there, amidst a tumble of other tapes. Thus, the idea was born for a trilogy of LPs tracing Marss development from their first audition gig at CBGB through the shows following their 1980 Lust/Unlust EP. China to Mars is the first volume, and really displays for the first time how much the bands earliest music was a mutated variation on some of NYCs extant juggernauts, in particular Television and the Patti Smith Group. While their sound was clearly their own, the textures and techniques theyre using to achieve them are far less alien than theyd become. Side one was recorded at Chinas audition night at CBGB in Feb. 77, and their follow-up show in June. Its amazing how good it sounds. And the songs are almost all unheard (apart from Cry, which appeared on the 2012 Anòmia tape box). Even "3E" is nearly unrecognizable from its released version recorded the following year. The second side is from Sept. 77, once they had started calling themselves Mars. The shuddering blocks of sound for which they are known are beginning to coalesce, and Sumners dark vocals are pushed to the fore. The music is stunning. You can hear the band on the very cusp of transforming itself into the group that recorded those incredible early sides. Wow, cant wait for the next two volumes" - Byron Coley, 2015. Edition of 800.

Artist: MARS
Title: Mars Archives Volume Two: 11000 Volts to Tunnel
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"The second amazing volume (of three), compiled by Mark Cunningham after culling every known live tape of Mars, documents the band in its first fully-matured form. Recorded at CBGB and Maxs in the early months of 1978, this captures the sound of Mars around the time their first single, “3E/11000 Volts,” was released by the French Rebel label (a precursor of ZE). Theyre still playing their early songs, and working out the material that would be on No New York (LR 102CD/LP). Two of the tracks (“Cairo” and “RTMT”) were never released in any form back in the day, and the whole album surges along like one of the weirdest rock rides anybody has ever imagined. There are still small tendrils of the more formal approach Mars took in their earliest days, but the function of the material is on its way to becoming utterly alien. Even though I saw the band around this time, the incredible strangeness of their approach is astonishing. Words fail me. No one else has ever created anything quite like the wall of sound they managed. On the second side, as an added bonus, the audience source tape is full of hooting and hollering by people like Lydia Lunch, Bradley Field, Kristian Hoffman, and various other reprobates with whom they were sharing rehearsal space at the time. Package looks great, too. Grainy, just the way it should be. Has an insert with brief notes by Mark, a couple of pics and handwritten lyrics that read better than Id ever imagined them to be. Essential stuff." — Byron Coley, 2016. Edition of 500.

Artist: MAZOZMA
Title: Heavy Death Head
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"Michael Turner, famed resident of Louisville/Lexington KY, main cog in the splendid Warmer Milks and valuable presence in many other ensembles, has recently migrated to New England. And we are honored to have him amongst us. As a way of making him feel to home, Feeding Tube has released his most recent slab of insane solo aktion, Heavy Death Hand, as splendidly out an LP as anyone could ask for. Mazozma is a recent nom de musique assumed by Turner, following a passel of albums released under the name Ma Turner. And every one of them weve heard is a pure blitz of sound designed to make your brain feel all soft and runny. The vibe of the music is pure American zonerism -- think of stuff like the Bobby J Records catalog, the Department Store Santas, Willimantic Shrin, and other LPs that seem to exist inside their own personal aesthetic continuum. One gets the feeling that they carry their own very real message, but that it is so deeply coded, so artfully fucked-with, and so weirdly personal that getting to its essence is like trying to play chess with Kaspar Hauser. The music itself is rock-based, but abstract, chittering, and incredibly fascinating. There are lots of people who try to do something new and original with guitar pedals and keyboard toggles and altered vocals, but usually it just ends up sounding like stoner bong-dust. Mazozmas music coheres somehow, venting poison gases with a gentle scent and strange allure. All of Turners albums are pretty amazing, but this one seems to go further in terms of pure sonic reach. The record more or less defines a very specific type of late night music, one which is favored by people who embrace the aether at just around the time most of us abandon hope and wish only to slip into the arms of Morpheus. As the soundtrack to a waking dream, it almost makes sense." - Byron Coley. Edition of 400.

Artist: MIAUX
Title: Above the High Rays
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"Miaux is the operating handle of Belgiums Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus Ultra Eczema label, but after catching her set at 2014s Bruismelk festival, Feeding Tube had to “have” her new record. Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrack-y nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mias hands and keys. Its easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own." - Byron Coley, 2015.

Artist: MILLER, ROGER
Title: Oh.
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Roger Miller, king of many roads both known and unknown, has a long and illustrious recording history. As a member of Sproton Layer, Destroy All Monsters, Mission of Burma, The Din, etc., he has made many records that are definitive statements of powerful outsider rock music in many guises. But this, his third solo LP, originally released by Forced Exposure in 1988, remains one of the great lost chords in his discography. Although hed been focusing mostly on extended keyboard techniques for a couple of years, Roger approached us with the idea of doing a guitar-oriented record, and furthermore suggested that hed spraypaint the back covers of all copies in his driveway, after sprinkling rocks across them. It was a hard opportunity to pass up. And the first bits we heard of the actual recording were amazing. The cover of Sun Ras “Space Is the Place” was totally boss. And a bunch of the other songs manifested a really bizarre, somewhat Eno-esque take on what pop-readymades could possibly be. In the intervening years wed start to hear them in a very different light, realizing they were almost templates for various skewed-spews that would emanate from New Zealand. A little Pumice, a littleTall Dwarfs, although that was obviously not anything planned or even related. There were even bits that recalled This Heat at their most organized. And it was all done at home on four-track. If anyone ever needed evidence that Roger is a genius at left-field song-craft, Oh... should be enough to convince them. It just sounds better even time I hear it" --Byron Coley, 2015. Edition of 350.

Artist: MILSTEIN, PHIL X & THURSTON MOORE
Title: Songs We Taught the Lord Volume One
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"As I recall, the idea seemed pretty reasonable at the time. It was late 1996. Id met Fahey a couple of years earlier, and partly as an outgrowth of that meeting he had decided he wanted to meet and play with noise musicians. This resulted in a lot of music that made his olden fans weep, but who was I to argue with The Great Koonaklaster? Anyway, it was late 96 and Fahey wanted to play some gigs on the east coast. He also wanted Thurston to be on the bill with him, and so Mr. Moore asked me for suggestions about who might be cool to duet with. We ruled out a lot of people for various reasons, then had a flash about asking the great Pep Lester (aka Phil Milstein). Although best known as a writer and designer, Phil had also done lots of music in various configurations, and I was hoping hed deign to play the musical saw he had started practicing a few years earlier. Phil had other ideas, though, mostly revolving around the tape creations and loops hed been doing with Thalia Zedeks band, Uzi, in the mid 80s. Thankfully, he also agreed to play some saw, and you will hear some of that instruments beautiful tones floating around the tape jabber and guitar circularity that makes up much of this records basis. This show was recorded on the first night of Faheys East coast jaunt, at the Iron Morse Music Hall in Northampton MA. The audience was primed for transcendental waterfalls, and didnt seem too delighted by Phil and Thurstons opening set, but fuck em. Fahey was enthralled. And when we pulled the tapes out to listen to for the first time in many a year, we were all pretty chuffed about how nuts and timeless the music sounded. Although the second nights sound was previously issued by Chris Corsanos Hot Cars Warp Records label, this is the first issue for this fantastic set. Roll yourself a fatty and swing!" - Byron Coley, 2016. Edition of 400.

Artist: MILSTEIN, PHIL X & THURSTON MOORE
Title: Songs We Taught the Lord Volume Two
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"This album reissues the final recording (thus far) of the Milstein/Moore duo. It was originally released in 1997 by Chris Corsanos Hot Cars Warp Records label. Chris had a choice of this tape -- recorded December 4, 1996 at the Middle East in Cambridge MA -- or the one from the previous night at the Iron Horse in Northampton (FTR 288LP). He chose this one, and the first volume was scheduled to appear on the Ecstatic Yod label. Why it never happened, who knows? Not me! The set was recorded opening for guitarist John Fahey, shortly after a horrible accident in Harvard Square, which involved Faheys belt breaking in the middle of Brattle St. and having his pants drop to his ankles as a result. Unable to bend enough to reach his feet, it fell upon one of the opening musicians to lend a hand. And I feel as though the incredible sense of horror involved in that process infuses this concert. Thurstons guitar was quite unhinged that night, and Phils gabble of tape-voices had a relentless edge that seems designed to induce claustrophobic reactions. It is a bravura performance by any measure, and surely one of the wildest collaborations Thurston had been involved in up to that time. Listening now, I can only hope these two do more work together in the 21st century. We could all certainly use it. Remastered from original source tapes, this new edition of the album is best heard loud. Who cares what the neighbors think? Theyre probably fascists anyway." - Byron Coley, 2016. Edition of 400.

Artist: MOONSICLES
Title: Bay of Seething
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
Limited edition of 300. "Lovely, mysteriously canted debut LP by the new Austin-based quartet put together by Aaron Russell (ex-Cherry Blossoms, Weird Weeds, etc.). The music on Bay of Seething is instrumental, and rolls with a very cinematic feel, as though it were the soundtrack for some sort of rather sad, but highly psychedelic, movie. Sonically, if you need easy handles, the sounds are probably closer to Weird Weeds than to Cherry Blossoms, perhaps because bassist Lindsey Verrill is a Weeds alum as well. But perhaps not. The blend of Aarons guitar -- sometimes raw and heavy, sometimes more in the electro-folk mode -- with Sheila Scovilles synth, Verrills bass, and Carolyn Cunninghams drums creates a dynamic and surging whole thats hypnotic and rapturous. Curiously, Moonsicles grab neither of the easy tropes that have lately been the stock-in-trade of instrumental units -- orientalia and spaghetti westernism. Their approach is straighter in a way, more based on proggy rock-qua-rock without nodding to either the far east or the faux west. The more the record plays, the deeper youll sink. So grab yr duvet and prepare thyself for a solid ride" - Byron Coley, 2016.

Artist: MOORE & JOHN MOLONEY, THURSTON
Title: Caught on Tape
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"And the blonde, as they say, shall lead the blind. Recorded at a variety of gigs during a tour of Europe in the spring of 2012, Caught On Tape documents an autodidact improv summit nearly without peer. Thurston Moore, the self-taught Connecticut guitarist for the Coachmen, Male Slut, Dapper, Wylde Ratttz, Dim Stars, Northampton Wools, Bark Haze, Pillow Wand, Diskaholics Anonymous, Societys Ills, The Dream Aktion Unit and several other combos, is in full unhinged blaze-mode here. His companion, notable son of the chowder mills, John Moloney (Sunburned, Shit Spangled Banner, Egg Eggs, etc.), rifles through his drum kit frantically, as though he was trying to destroy a rainbow with hammers. The blend is totally berserk. While neither of these gentlemen has dick in the way of formal musical training, they are both capable of producing stun-level blasts of pure-zonar energy, and the music on this LP is at times as tightly focused as Bill Clintons most powerful penis rays. Full of murky surface moves, with a lot of fully weird subtext, Caught On Tape is a brilliant testament to the transformative power of the pure head-gush. Like a crude stone pyramid, teetering on the edge of an Anasazi cliff, this music is always on the verge of crushing your entire body like a grape. But in a good way. A very good way. The original tour edition of 113 copies sold out as fast as Kate Moss last batch of used panties. Heres a chance to get a trade copy, with a lovely Raymond Pettibon cover. The future is yours for the asking. Just dont delay." - Feeding Tube.

Artist: MOORE & JOHN MOLONEY, THURSTON
Title: Caught On Tape
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"And the blonde, as they say, shall lead the blind. Recorded at a variety of gigs during a tour of Europe in the spring of 2012, Caught On Tape documents an autodidact improv summit nearly without peer. Thurston Moore, the self-taught Connecticut guitarist for the Coachmen, Male Slut, Dapper, Wylde Ratttz, Dim Stars, Northampton Wools, Bark Haze, Pillow Wand, Diskaholics Anonymous, Societys Ills, The Dream Aktion Unit and several other combos, is in full unhinged blaze-mode here. His companion, notable son of the chowder mills, John Moloney (Sunburned, Shit Spangled Banner, Egg Eggs, etc.), rifles through his drum kit frantically, as though he was trying to destroy a rainbow with hammers. The blend is totally berserk. While neither of these gentlemen has dick in the way of formal musical training, they are both capable of producing stun-level blasts of pure-zonar energy, and the music on this LP is at times as tightly focused as Bill Clintons most powerful penis rays. Full of murky surface moves, with a lot of fully weird subtext, Caught On Tape is a brilliant testament to the transformative power of the pure head-gush. Like a crude stone pyramid, teetering on the edge of an Anasazi cliff, this music is always on the verge of crushing your entire body like a grape. But in a good way. A very good way. The original tour edition of 113 copies sold out as fast as Kate Moss last batch of used panties. Heres a chance to get a trade copy, with a lovely Raymond Pettibon cover. The future is yours for the asking. Just dont delay." - Feeding Tube.

Artist: MV & EE
Title: Alpine Frequency
Format: LP
Label: Feeding Tube
Country: USA
Price: $30.00
"Matt Valentine and Erika Elder have been cutting new synaptic pathways through brainic underbrush since before most people became capable of breathing air. That said, their albums (many of which are CDR-only issues on their own Child of Microtones imprint) often have a specific delirious blueprint, designed to shift only a certain batch of molecules and/or air into forms that translate into music. Such is not the case with Alpine Frequency. This lazily explorative 2LP set was sewn into a whole from various tattered swathes of sound, pieced together like the jeans Neil Young wore on the cover of After the Gold Rush (1970). A Spectrasound production, AF includes appearances by a vast array of MVEE enablers of all known periods -- PG Six, Mick Flower, Rafi Bookstaber, Jeremy Earl, Doc Dunn, Spanish Wolfman, and many others emerge from time to time, making sure the water is just right. And it is. Like a very good Dead set, the music here moves from overt abstraction to melodic focus and back like the tracking shots Monte Hellman used in the 1974 film version of Charles Willefords Cockfighter (1962). But unlike the Allman Bros. (who were extras in the crowd scenes at Hellmans staged cock fights), MV&EE dont do anything to placate the squares. Their trip is as deep, dark, and flowing as a bushel of burning VT weed. Their music sucks you into its vortex (if it allows you in, of course) and then just carries your ass right through to the finish line. All you have to do is get up now and then to change the records. This here outfit (in all its many guises) has put out a lot of great music, but Alpine Frequency feels like a real achievement -- a shorthand essay about all that has gone before it. A beautiful capsulization, ready to float onto your ears tongue, to melt once and for all. Dig it" --Byron Coley, 2015. Edition of 500.

Artist: NATHAN/G. JAMIE, C.
Title: Youthful Dementia
Format: Cass
Label: Feeding Tube
Country: USA
Price: $8.00
"Reissue of a cassette that Colby released on his own Laughable Recordings label in 2014. Mr. Nathan is based up in Maine, where he recorded Sophie Dickinsons Cucucanady LP (FTR 177LP). Greg is from Maine as well, and the pair got together for this session in late 2013, with Ralph White sitting in on one track. The sonics recall everyone from early Neil to something that sounds more like a small cabal of stoned American ex-pats singing for their scalps in Denmark in the summer of 1968. Like many other artists from Vacationland, these guys make music thats like a warm handshake. Comes with a small lyric booklet, hand-sewn by Colby. Sweet stuff." --Byron Coley, 2015.

Artist: NOISE NOMADS
Title: Ernest Thrasher
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Back when I was about six months older than I am now, I used to see these bumper stickers around town that said, "There is Nothing Like a Grateful Dead Concert." My first reaction was to say, "Thank fuck," since the last Dead show I saw (Jersey City 8/6/74) pretty much blew. Then I remembered that last goddamn Dead show anyone saw was almost 20 years ago (Chicago 7/9/95) and it makes me wonder what kinda stupid pills the cars occupants have been snorting. Cause Jesus, therere all sorts of things like a goddamn Dead show. I wont name em since they mostly suck. But there are plenty of em. What there are not plenty of is things like a Noise Nomads show. If you ever saw one, you know what I mean. Caveman percussion, noise and action all mooshed into a huge art-apocalypse that happens one time and then never happens quite the same way again. Jeff Hartford -- Mr. Noise Nomad, himself -- approaches every show like a happening, and he creates a vibe and vision that will hang in yr head and ears long after the fire has burned out (as it were). He does the same thing with his albums, of which there have been three on vinyl previously. Realizing that visuals dont mean DICK when yr listening to a record, Mr. Hartford cuts way back on the performance hijinks, and focuses on dastard electronics. His approach on Thrasher is to offer up two extended pieces, created from oscillating tones that are knobbed into pitch variations in a way that maintain equal levels of aggression and abstraction. In the studio, Hartford approaches synths less like the ass-up twiddlers of the recent past than the wilder analog brain-scramblers of early generations. The material on Thrasher reminds me a lot of guys who felt like they were creating "pure noise" back in the 70s. Music that when revisited later showed itself to be complicated, textural, and really quite beautiful in ways no one imagined possible when they wrote their first review of Metal Machine Music. This is a great, time-warping set of sounds. Bending both contemporary time-as-heard and historical time-as-prologue. Good stuff. Although, still, there is nothing like a Noise Nomads concert. Nothing." -Feeding Tube.

Artist: NOWOTTNY, MARIANNE
Title: Dark Souls Need Light
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"When Jersey teen Marianne Nowottny arrived on the scene in the late 90s, she had the looks of a typical NJ gum-snapper but possessed a voice that was way beyond what youd expect to find hanging out in the parking lot of White Castle trying to bum cigarettes. Her vocals had the rich, smoky maturity of Marianne Faithfulls late-70s work, hauled into an off-center bedroom pop universe that was almost impossible to decode. Her subsequent studio recordings have investigated magnificent nooks of post-naïf construction, but it was in live performance that she created some of her most staggering sonic edifices. We are very pleased to finally present two sides of her explosive and surprising avant-lounge meditations. The first side was recorded at the Knitting Factory in 99, with an improvisational trio composed of Mark Dagley (The Girls, Hi Sheriffs of Blue, etc.); Marks visual arts pal, the late Steven Parrino (whose work with Jutta Koether in Electrophilia was unbelievably savage); and Scott Jarvis (Workdogs, Th Cigaretz, ½ Japanese, etc.). The fully toasted coil of Mariannes keys and voice blends into the sound-sheets rustled up by her collusionists like an unholy meeting between one of Sun Ras small ensembles and Robin Crutchfields Dark Day. Messy, smudged, long-format song distention with amazing shifts in tonal center and a truly crazed heft. The flip, recorded with just Dagley in 02, is even more extreme. Built around a pummel that sounds like the L train blasting straight through Union Square station, Marianne channels broken Simone-tones and broadcasts them into the maw of chaos. Even in those instances when she chooses to use her her völk-voice the results are dastardly, with a feeling so deeply drugged itll make yr head heavy. If youve never sampled the Nowottny sound, this is a pretty amazing place to start. Dont be afraid. She was just a kid" - Byron Coley, 2015. Limited edition of 300.

Artist: OMNIVORE
Title: S/T
Format: LP
Label: Feeding Tube
Country: USA
Price: $19.00
"First album by Glenna Van Nostrand, a Cambridge, MA-based performance artist obsessed with archaic telecommunication hardware. Using solo vocals run through an old telephone, amplified by a variety of radios, her work creates its own rhythms through hypnotic layering, repetition and the imperfections built into her chosen delivery system. Alternately ethereal and cracked, her performance takes simple kernels of thought and speech, creating mystifying vistas of otherness that hint at the eternal now. The only specific musical accompaniment comes from her use of a telephones touch pad as a keyboard, but the rich weirdness of her compositions is consistent and dazzling. The album was recorded, mixed, and mastered at Machines With Magnets with Keith Souza and Seth Manchester in Providence. Are you ready for two side-long slices of the Omnivore experience? Get yours now." -Feeding Tube.

Artist: ORCHID SPANGIAFORA
Title: Flee Pasts Ape Elf
Format: Double LP
Label: Feeding Tube
Country: USA
Price: $30.00
"Splendid, expanded reissue of this monster album, which most people know from its placement on the NWW List. Stapleton even went so far as to name a track of his ("Fashioned to a Device Behind a Tree") after a mis-hearing of one of Flee Pasts many memorable lines. The music has its roots in Hampshire Colleges Electronic Music Studio in the early 1970s. While taking a class on electronic composition, Robert Carey was smitten by the potentialities lurking inside piles of reel-to-reel tape. Presented with a stack of such stuff, mostly recorded from television broadcasts, he began an epic stumble into the universe of musique concrète. Carey refashioned banal spoken material into bizarre, hilarious and shockingly musical suites that you could listen to for sheer yucks or revelatory juxtapositions. Influenced by Gysin/Burroughs/Somervilles cut-up techniques, as much as Zappas 1960s editing flair, Carey (rechristened Orchid Spangiafora by some wise-ass music professors) created new savage aural realities that you could almost dance to. The original album was released by Twin/Tone Records in 1979, at the behest of the Suicide Commandos Chris Osgood (whod been Careys roommate at Hamsphire). It didnt make too much of a splash, but managed to sneak into a lot of important ears nonetheless. And it remains one of the few records that I can put on in the 21st century and still have people ask, "What the hell is that?" Now you can do the same. Edition of 500 copies." - Feeding Tube.

Artist: PALBERTA
Title: Hot On The Beach
Format: 12"
Label: Feeding Tube
Country: USA
Price: $18.00
"Remixed, remade, remodeled vinylization of Palbertas Hot On The Beach (2015). The four brutarian tracks on the A-side are shards of songs reductive enough to have earned their no wave deal of approval. Ug-thrust co-existing with a whacked-out feel more in line with late 70s UK scribblers like the Raincoats or Big In Japan. They do a single extended track called Prolly For The Best - something like a dance 12" released by 99 Records, recorded anonymously and very drunkenly by the Y Pantsafter a show at Experimedia. Edition of 360. 45 RPM." - Feeding Tube.

Artist: PALBERTA
Title: My Pal Berta
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Great debut LP (following a tour-split with NE Patriots) by this upstate NY trio. Its actually the vinylization of their OSR cassette, but now its a record and thats all the better for you. Their sound immediately strikes ones ear as brimming with the anarcho-squeak-aggression of Switzerlands Kleenex, but thats just the initial impression. Palbertas actual brunt is thoroughly warped in an all-American style, smelling of tent parties in the piney woods as much as sweat-stained house shows in the valleys of the Northeast Kingdom. They take pains to stretch their compositions in a lot of strange simultaneous directions, which both reference and deny the influence of early Rough Trade recording acts. Their brilliantly sloppy experimentalism is one of those sounds that will grow in the creases of yr brain like a lovely fungus. Youll only know youve arrived when youd sprouted a full head of mushroom antlers. Go ahead, take the Palberta challenge. Today." --Byron Coley, 2014; Includes download code. Edition of 400.

Artist: PALBERTA
Title: Shitheads in the Ditch
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Another great album by this Hudson Valley trio (again, first issued as a cassette by OSR), continuing their plunge into the ocean of post-punk readymaids. Palbertas sound collages together many of the greatest female outfits of the classic Rough Trade era (Kleenex to The Raincoats to Mo-Dettes and onward) while retaining an after-core blurtage that can momentarily call to mind anyone from Slant 6 to Huggy Bear. The trios own personae shine through as well -- giving everything a sputzy Saturday-morning-cartoon quality. This requires blending naïve-sounding pieces of sound-art inside extremely sophisto form-molds and Palberta manage to pull this trick off seamlessly (whether by design or sheer instinct, we dunno). It allows them to celebrate and subvert genre-protocols simultaneously, which is pretty damn great. And the fact that they sound like theyre having a lot of fun while they destroy conventions doesnt hurt in the least. In fact, its what youd be tempted to call a total genius move. Give Palberta an inch. Right now. Theyll take a whole lot more." --Byron Coley, 2015. Edition of 350.

Artist: PANTER & DEVIN FLYNN, GARY
Title: Devin And Gary Go Outside!
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
""First vinyl issue (and an expanded one, yet!) of the taste-tastic 2008 set recorded by Devin Flynn and Gary Panter, just prior to their reconfiguration as a trio with Ross Goldstein (who only guests hereupon). I will be damned (and I mean truly damned) if I can recall who set this project in motion, but once it was started it rolled like the blimp of eternity it so closely resembles. Gary and Devin had been doing odd, punchy keyboard/guitar juke-a-thons for a while by then, spinning their way into the bellies of classic 60s tunes, then clicking their mandibles in sequences they thought of themselves. Their music was always weird and psychedelic in a vague, bad-trippy sort of way, and I guess the idea was to try and capture that. Go Outside -- while on the short side, playing-time-wise -- is really a transitional gush. By including a new version of Garys classic "Tornader to the Tates" amidst rumbles from the stoner bush, the album provides a loving bridge from the old to the new. Not that its really needed, but what the hell? If you enjoyed the sacred swirl of Honeycombs of Chakras (FTR 134LP, 2013) (and who didnt?), youll def dig the pants off of this one. Not quite as overt in its psych hunch, it still dithers to all the same principles. And the two new songs added for this expanded reissue (Johnny Carson Live At Shea Stadium and Runaway) are just as loose and low as you please. Fellows? Ladies? Here is your reason to start passing the drip cup again. Dont pass it up!" --Byron Coley, 2015. Includes insert and download code. Limited edition of 400.

Artist: PASQUAROSA WITH JOHN "SUNBURNED" MOLONEY, ANTHONY "CRYSTALLINE ROSES"
Title: My Pharaoh, My King
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"This new duo LP, the first recorded by guitarist Tony Pasquarosa and drummer John Moloney (aka The Meatball Twins), is a masterpiece of lateral drift. Recorded as something like a tribute to the spirit of Farrell Little Rock Sanders (also known as The Son in the saxophonic Holy Trinity, along with Coltranes The Father, and Aylers The Holy Ghost) there is no music here specifically recalling Sanderss work. But much of it seems to spring from a place that is illuminated by Sanderss artistic freedom, and his utilization of Middle Eastern symbols and motifs both inside his music and as part of his artistic statements. Tonys acoustic guitar playing makes me think of the work of Indias great string master, Brij Bhushan Kabra. Raga-like twirls and filigree emerge like puffs of wet smoke, drifting away lazily in the sharp light of a winters afternoon. And Moloney, who is best known for throwing down thunder with Sunburned, Chelsea Light Moving, Dino Jr, Caught On Tape and other Giants of Thud, matches Tonys mood effortlessly. Sweet light rhythm patterns are not something one often associates with Moloneys music, but his playing here with both percussion and wind show a very different side of his chops. At some points the overall sound recalls one of Sandy Bulls Blends with Billy Higgins, but the music on My Pharaoh, My King is entirely its own trip. And it is a damn good one. Enjoy it with a meatball today!" - Byron Coley, 2017. Edition of 500.

Artist: PENSADO, ANDREA
Title: Without Knowing Why
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"Exceptional solo LP from this Argentinian ex-pat, who has been based for the last decade-plus in Eastern Massachusetts. Feeding Tube previously issued the Yeppers LP with Andreas sometimes trio, Los Condenados (FTR 126LP, 2013), but this is a sample of her latest work -- insane solo sound creations that are accompanied in live performance by some very crafty puppet work. The spectacle of this live show is astounding and disorienting, but the same is true for the music shorn of the visuals. Ms. Pensados primary instrument is the computer, and her early work was created in academic settings in both Argentina and Poland. But since moving to the States, one senses the arc of her work is tending toward the Dionysian, and the sounds on Without Knowing Why are state-of-the-art noise inventions for laptop and voice. The electronics and soundscrapes share a certain tonal quality with some recent work in subliminal noise explorations by folks like Matt Krefting, Jason Lescalleet, and Aaron Dilloway. But her attitude ultimately emerges as somehow more aggressive than those boys. And the mix of post-glottal vocalese and the distended muzzy textures of her music create a very unstable base. We would suggest that listeners grab their ankles before the album starts to play, but that would spoil aspects of the records gestalt. Prepare to be MOVED." - Byron Coley, 2015. Limited edition of 300.

Artist: PETERS WINDOW
Title: Last Summer on Earth/Grapey Day
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Pete Nichols is one of Brattleboro VTs many talented polymaths. He runs the Spooky Town Tapes label, records bands at Peters World Studio, and is a member of Great Valley. This album -- his first solo LP -- collects the previously issued Grapey Day cassette, and adds a matching suite of songs for your listening pleasure. Nichols muse is a bizarre pop/outsider hybrid, recalling everyone from Tracey Trance to Big Star at various moments. The songs are sweet nuggets of form, transmuted by itchy fingers into something both more and less than pop-tongue-aktion. The arrangements can be nearly straight (as on the sweet Yo La Tengo-ism of A Trip), slightly off (Staying Homes evocation of Peabody-era Chilton) or sound like a boll weevil from the cast of Godspell covering Jad Fair (Girls Dont Like Guys in Bands Anymore). Swallowed whole, the album will make your throat feel a little odd, but not in a truly unpleasant way. Indeed, some doctors somewhere are almost certain to prescribe it as a tonic. So you might as well get ahead of the curve and slurp through it today." --Byron Coley, 2014; includes download code. Edition of 250.

Artist: PHILLIPS, GLENN
Title: Lost at Sea (40th Anniversary Deluxe Edition)
Format: Double LP
Label: Feeding Tube
Country: USA
Price: $36.00
"In collaboration with Nigel Crosss Shagrat label, and Glenns own Snow Star concern, Feeding Tube is tickled to release the 40th Anniversary Deluxe edition of Glenn Phillipss first album released under his own name, Lost at Sea. Originally issued by Snow Star in 75, then licensed by Virgin in the UK, after Peel started playing it, LAS has long been a favorite of people of true refinement. Glenn had joined the legendary Hampton Grease Band while still in high school. He played with them their whole six-year span, and was a key component of the sound on their sole album -- the sprawling Music to Eat (which should be part of everyones collection). Following the dissolution of the Grease Band, and some additional personal troubles, Glenn decided to record LAS at home, using his working live band of the moment. The results were amazing. Glenn had always been able to conjure up flash for his solo spots with the Grease Band, but the playing here rose to a whole new level. The album is one of the best homemade prog LPs of the era. Hints of McLaughlin, Zappa, and Duane Allman all manage to coexist in an instrumental jungle that is dense, angular, and boss. Packed inside the original fantasy art sleeve, now a heavy-duty Stoughton gatefold with pics and notes by Glenn and Phil McMullen (of Ptolemaic Terrascope), this new set has also grown an extra LP. The music is of a piece, and a truly excellent expansion of this singular album. It was a long time coming, but we think it was worth the wait. Dig fast, they wont last" --Byron Coley, 2015. Limited edition of 500.

Artist: PICAYUNE
Title: Summer Bummer
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"Limited to an edition of 100 copies. "If Tom from Stiltbreeze had heard this album first, he would have put it out and Dusted.com would have written that it was a "dry dissipated treatsie on late-America hegemony and decay," but he didnt hear it first and he has to make do with all the ennui that the great state of Ohio can muster instead. I love this album. Guitar sprawl caked onto wax like mud. Suck it in and blow it out." -Scott Seward in Decibel Magazine

Artist: PIMANIA
Title: The Music of Mel Croucher and Automata U.K. Ltd
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"Dont be so shy man, just come an meet the Pi-Man. "The crown jewel in the feeding tube catalog. The music on this record was recorded from 1981-1985 as the conceptual soundtrack for computer games released on cassette by the British software house Automata U.K. Ltd. Combining primitive synthesizer tones and meandering psychedelic blues guitar with cryptic, off-color lyrics about the multi-colored Piman and his pals, this is unlike any other "computer music" you know or have imagined. Ultra thick gatefold, comes with cut-out mask, extensive liner notes and poster. -Feeding Tube "This album represents a bona fide artefact exhumed from the age, and imbued with the spirit, of hypnagogia. While retro-futurists like James Ferraro and Daniel Lopatin refashion the cultural debris of their adolescent pasts into fresh meditative forms, here we have a taste of the genuine article, with a side salad of saucy seaside humour thrown in." -Spencer Grady on thequietus.com
SOLD OUT

Artist: ROBINSON, ROBERT
Title: Connecticut River
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
LP includes download code. Edition of 300.
"First solo LP by the guitarist for Sore Eros, playing here with a goddamn valley full of musicians -- from local cats like Sam Gas Can, Murph, and John Moloney, to Eastern Mass chooks like Gary War. All are depicted on the Connecticut River High photo insert, which you may well choose to carry to concert events so that the various and sundry can autograph your copy with words of bonhomie. The music on Connecticut River is extremely wonderful and dizzying in its pure-pop/post-pop ramifications. Robinson seems to have grasped both genres by their most experimental nubs and given them the softest shake imaginable. The album is a swirl of instruments that alternately bear down on hooks and diddle off into river-bound mist. Vocals gang together into chorales of majestic mumblecore or stand like lonesome wolves howling in the hills... Having played this album for nigh on a month now, I am really no closer to unraveling its mysterious core than I was when I first spun it. Some parts chug like unknown glam-rock readymades, others resemble the work of Pip Proud. But this strangely addictive blend of elements has wormed its way deep into my brain, and seems to cast an equal spell on everyone who wanders in during one of my endless listening sessions. High compliments, indeed." --Byron Coley, 2014

Artist: RUSALNAIA
Title: s/t
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Originally issued on CD in 2007 by the late Tony Dales superb Camera Obscura label, the debut album by Rusalnaia is one of the lost classics of contemporary folk music. This is Rusalnaias first appearance on vinyl, and we believe it will spin a lot of heads who missed out on it the first time around. The duo is made up of two formidable solo performers -- Englands Sharron Kraus and Philadelphias Gillian Chadwick, both of whom have unleashed massive solo recordings over the years. Neither of them has ever sounded quite as weirdly rural and psychedelic as they do here, however. Something about the way their voices and instruments combine with Greg Weekss production (and occasional instrumental additions) give this album a bewitching aura that recalls a host of trad/psych folk-rattlers of the early 70s, from Trees to Comus to Spriguns and even the Watersons at their most whacked. Having listened to this album maybe 50 times, its still hard to figure out how exactly it creates its celebratory fog, but it does. The songs sometimes have the feel of traditional pagan hymns, at others they could almost be outtakes from a lost, early Sandy Denny album. There is no doubt in my mind that this is one of the great overlooked gems of the last twenty years. It is our pleasure to help you rediscover it. Liner note insert by Ptolemaic Terrascopes Phil McMullen" - Byron Coley. Edition of 400.

Artist: RUSSELL, BRUCE
Title: Howling and Instability at High Volume Settings
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"If ever there was an album by NZs great Bruce Russell whose title carried the essence of his genius, this is it. The words come from the manual of the amp that Bruce uses to create his special brand of guitar havoc, and its wording could not be clearer. Naturally, Mr. Russell takes great delight in pushing the poor thing beyond its stated limits as often as possible. The results almost always possess a strange majesty. And so it is here. Originally issued as two-thirds of a CD included in the mythical No More Driver Call Me box (a never-commercially-available collection of Bruces solo music, video work, and writing), one of the things most curious about this LP is how close to the sides titles Bruce chooses to hew. On “Howling,” the guitar tends to get into the upper registers and maintain a bellering edge, often on several levels at once. Certainly, there are plenty of skritches as well, but the concept of howl-as-howl seems to be borne out in a major way. Concomitantly, “Instability” has a sonic roof that is continually collapsing on itself. Twin-voiced amp-hump no more sturdy than yurt in a hurricane. Or maybe Im just projecting. Suffice to say, its a blindingly fine album, both howling and unstable in all the right places" - Byron Coley. Edition of 400.

Artist: RYSER, NINA
Title: I Hope All Your Dreams Come True
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"This is the vinylization of the fourth solo album (originally released on cassette by Ramp Local) by Nina Ryser, she of the trio, Palberta. Palbertas releases have all been quite amazing -- ragged bags filled with musical lumps of the finest kind imaginable. Comparisons have been drawn (and quite rightly) between Palberta and units ranging from Kleenex to Aunt Sally to the Raincoats, so anticipation for this new album was kite-high and rising. I Hope All Your Dreams Come True veers from the rockist traits Palberta sometimes displays to a sound far more personal, electronics-spattered and specifically warped, momentarily reminding this listener of individual post-X Ray Spex projects by both Poly Styrene and Lora Logic. The small extra contributions by Gods Wisdom (vocals) and Gabe Adels (clarinet) do little to change the lonerist vibe. It all feels like music that has been bubbling inside a single head, without any plans to have its expressionism filtered through other brain waves. The album is interspersed with three variant and fragmentary covers of The Cradles Abdicate, recorded by Anina Ivory-Black (also of Palberta), but trying to figure out what these mean is above my pay grade. Suffice to say, theyre interesting breaks in the continuity of an alternately smudgy and frantic set of tunes. There is also one track recorded back on 2001 thats like a Throwback Thursday snap for old school Brooklynites. Ive listened to this a bunch now, and its hard to describe exactly what the center of the project is about, but its certainly chewy and delicious. So what the hell? Dig in!" - Byron Coley, 2017. Edition of 300.

Artist: SAWYER, ANGELA
Title: Croaks
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"One of the highlights of early Devo live shows was a song Booji Boy sang called, “The Words Get Stuck in My Throat.” It was kind of a sappy tune, about little hidden microphones and View-Masters and shit, but it made a huge impression on Angela Sawyer when, still in swaddling clothes, she heard it on a bootleg tape recorded it at Maxs Kansas City. She would sit in front of the family Walkman all day and play that song over and over again. It became, what she calls, “the theme song of my youth.” In the years between that epiphany and this LP, Ms. Sawyer has worn many bonnets. She has been in “bands” like Preggy Peggy & The Lazy Babymakers, Duck That, Exusamwa, and Negative One. She has run a bizarro-world CDR label (Being Weird Isnt Enough). She has championed crazy music for many zines, sites like Perfect Sound Forever, and as a writer of liner notes. She ran the legendary Weirdo Record Store out of a Harvard Square bomb site. And throughout this she has maintained a bad attitude and propensity for ear-damage that always makes her the first person strange foreigners think of when they want someone to play with. She has made her presence felt as a supremely subterranean force on the New England landscape. Anyway, back to the LP at hand. As a result of Angela wondering about what might happen if words actually got stuck in your throat, she began doing sound poetry vocal exercises designed to answer this age old question. Endless hours of such stuff were recorded and studied, with the final determination being that words cant really get stuck. They always come out eventually. And when they do, theyre either croaks or theyre honks. In order to show the difference between these two schools of sound, Sawyer assembled this album from hundreds of hours of recordings. And we think youll agree the results are both startling and revelatory. Science, dear friends, marches on." - Byron Coley, 2016. Edition of 300.

Artist: SCHWARTZ & BIG BLOOD, ELLIOTT
Title: Ant Farm
Format: LP
Label: Feeding Tube
Country: USA
Price: $24.00
"An incredible album of music, conjoining two different sonic aspects of Maines Strangeness. Big Blood are well known to fanciers of contemporary sub-underground sounds. The duo of Colleen Kinsella andCaleb Mulkerin have been conjuring up rural-experimental ghosts for over a decade. Feeding Tube has previously released their double LP set,Radio Valkyrie (FTR 103LP) to rapturous acclaim. Their music embodies the mysteries of the deep woods better than any other artist we can name. Elliott Schwartz, meanwhile, has been composing and playing brilliant (often keyboard based) music for decades. His 1973 duo album with saxophonist Marion Brown (released by Bowdoin College, where he has been based for many years), is often cited as one of the primest examples of a free jazz/avant classical hybrid. And all of his records are quite killer. This LP came together as the soundtrack for an exhibit calledAnt Farm, organized to showcase the work of Maine-based art quartet,The Ant Girls. This visual arts group included Ms. Kinsella and the lateDorothy "Deedee" Schwartz in its ranks, so perhaps this collab is less surprising than it might initially appear. But surprising or not, the work is an incredible syncretic fusion. Although there are certain instrumental parts we might ascribe to one artist or the other, as the music unwinds these divisions melt and become all-but-imaginary. The blend of Big Bloods psych-tinged free-folk improvisations and Schwartzs aleatory work on keys and percussion is a very righteous blast. 300 numbered copies exist on our planet. Dont delay." --Byron Coley, 2016. Individually numbered with silver foil stamps.

Artist: SIZE QUEEN/JANE LA ONDA
Title: The Spectacle/Buy Buy Buy
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Okay, lets get our big secret out of the way immediately. Kassie Carlson -- she-devil of helium-attack vocals with Guerilla Toss -- is both Size Queen and Jane La Onda. Thus, this split LP is nothing more (or less) than a display of two of Kassies many known musical personalities. And it is a listening experience as haunting as it is haunted, as coolly weird as it is weirdly cool. Size Queen presents a suite of synth-pocked bedroom pop that sounds to me like the dream-state of a young girl whose favorite robot dog has run away. Maybe for good. Gently blabby munchkins try to convince her that everything is gonna be okay, and she kinda swallows it. I thought it was a little weird when the dog started singing what I took -- at first -- to be a Sonny & Cher cover, but Size Queen didnt seem to notice. Yet, she yearns. Janes side, which was previously released as a Feeding Tube cassette (FTR 202CS), is cleaner and clearer in its poppic aspirations. Driving busy synth lines are woven into bright vocals that alternate between robo-talk and gal-chorale. The results are not unlike certain new wave giantesses of ages past, but their shadows are so frightening I cannot recall any of their true names. But even though these lasses shall remain anonymous, the keyboard sound here recalls some very specific antecedents in spots -- namely Jeff Lohns work on Theoretical Girls U.S. Millie and the anonymous spoot on Snakefingers cover of Kraftwerks The Model. Its jumpy, plumpy, and good. Just like Jane. I mean, The Queen. I mean, Kassie... uh..." --Byron Coley, 2014.
LP includes download code.

Artist: SON OF SALAMI
Title: A Study In Eraser Headless Tape Recording
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"21 lo-fi pop gems from the true heart of Burlington, VT. All songs performed and recorded by Joey Pizza Slice on his eraser-headless portable tape machine. This device allows him to create multiple layers of audio content without the handicap of having to hear hear the music hes recording over. Each overdub is a one-shot deal. THERES NO ERASING ALLOWED! Results are not unlike some of the lo-fi antics of todays youth, but I actually think this is a lot better. Funny, strange and charming songs that break free from their primitive trappings, rather than fall back on them. Contact the label to book Joey at your next party, prom or potluck. If its not snowing, hed probably be delighted to supply the tunes you need. When and where you need them." - Feeding Tube.

Artist: SPIRES THAT IN THE SUNSET RISE & MICHAEL ZERANG
Title: Illinois Glossolalia
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Beginning in January of 2011, composer, percussionist and improviser Michael Zerang joined Spires That In The Sunset Rise for a year-long collaboration to explore a broad range of sonic and textural improvisations, in a series of live concerts throughout the year. The collaboration culminated in residency at the Experimental Sound Studio in Chicago, as a part of their Artist Residence Program, where the trio was able to perform and record a massive amount of material. The partial result of this effort is the Illinois Glossolalia LP. Since 2001, Spires That In The Sunset Rise have been unsettling and thrilling audiences with their brand of sonic alchemy. Described by Jack Rose as a "female Sun City Girls," they contributed a different slant to the new folk movement by incorporating various avant-garde and world music influences into their sound. They have been compared to artists ranging from The Raincoats to Meredith Monk to Comus to Harry Partch. Their most recent album, Beasts In The Garden (2015), was described by Marc Masters as "some kind of long-lost Terry Riley/Angus MacLise collaboration, equally devoted to divine repetition and center-seeking ritual." They have eight full length albums, a few side releases, and several solo efforts. The band is now the duo of multi-instrumentalists Kathleen Baird and Taralie Peterson. They have collaborated with musicians in the realm of pure improv, worked with dancers, and been involved in various theatrical productions. Michael Zerang was born in Chicago, Illinois, and has been a professional musician, composer, and producer since 1976, focusing extensively on improvised music, free jazz, contemporary composition, puppet theater, experimental theater, and international musical forms. As a percussionist and composer, Michael has over 90 titles in his discography and has toured nationally and internationally to 35 countries since 1981, and works with and ever-widening pool of collaborators. He has performed with Peter Brotzmann Chicago Tentet, Joe McPhees Survival Unit III, Liof Munimula, Musica Menta, Johannes Bauer Berlin Quintet as well as countless other projects with musicians from around the world. Michael has collaborated extensively with contemporary theater, dance, and other multidisciplinary forms and has received three Joseph Jefferson Awards for Original Music Composition in Theater, in collaboration with Redmoon Theater, in 1996, 1998, and 2000. Edition of 400. Includes download code." - Feeding Tube.

Artist: SPORTS
Title: The Smell of Rot
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"Super dark vox, synth and drum machine jams from Maines Clare Hubbard, who also records as the chill-volk songstress, Caethua. She is also part of the Ancestral Diet duo and a sometime member of free improv unit (D)(B)(H). With Sports, Ms. Hubbard evokes a deep Midwest-style fem-noise-vibe, boogieing through the graveyard with her shovel and lantern. This is Sports first LP, heralding a new era of bleak ecstasy." - Feeding Tube.

Artist: SUNBURNED HAND OF THE MAN
Title: Mind of a Brother
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"Amazing archival retrieval (with extra material on the download) of the first release by long-running human zoo known as Sunburned. Forged in the heat of Kristin Andersons Charlestown loft, the group more or less descended straight from the corpse of Shit Spangled Banner, although they did not assume the band name until 1997 (two years after the first protean jams had started). The material on the album was recorded in 1997 & 98, often deep in the grip of acid flashes, and it really shows. Over the course of their nearly two-decade lifetime, Sunburned has been many things, but its easy to forget how spacily jazzoid and proggily psyched-out their initial gushes were. The music here is wildly explorative and crazily inventive, sharing a clear affinity with fellow travelers No Neck Blues Band. Indeed, the second edition of the CDR of this album was created to be sold on a 1999 tour which was No Neck, John Fahey, and Sunburned. One can only shudder at the mere thought. Anyway, this may well be one of the best Sunburned albums. It has a bizarre sweetness I never noticed in the band back then, because they always seemed like thugs underneath everything else. But you can really sense it here. And Rob Thomass excellent liner notes attest to the benign flow of their early visions. How nice to hear where this weird trip started." - Byron Coley, 2015.

Artist: TELLAVISION
Title: Music On Canvas
Format: 12"
Label: Feeding Tube
Country: USA
Price: $18.00
"Gorgeous first LP by German visual/sound artist, Fee Kürten, whose previous work has been available only via the German Bloody Hands label. Singing in English, accompanying herself on electronics, harmonica and strings, Fee creates oddball vistas of minimal pop aktion reminiscent of early Young Marble Giants, mixed with overtones lifted straight from the women of the Neue Deutsch Welle, and the slangy delivery of Omnivore. The results are a beautiful, throbbing Euro-American art-pop hybrid that functions in truly Internationalist terms. Some of it is akin to the nudest American avant-garage inventions around, other parts bleed like the waffle-filled air of the deepest Belgian underground. Just when you think you have Tellavisions modus operandi decoded, something different happens and you have to start re-evaluating your conclusions. Surreal, abstract, imagist, literal and utterly lovely, this is music for sitting around an internal campfire, crackling like crazy. Edition of 300." -Feeding Tube.

Artist: THEE ARCADIANS
Title: We Have Come For Your Parents
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"New England has a long tradition of teenagers being raised in caves. Local histories are rife with descriptions of shaggy teenaged gangs appearing in towns and hamlets, usually in late Autumn, causing massive amounts of trouble before disappearing once more into the hills. The members of Thee Arcadians count no literal cave-dwellers amongst their number, but the semiotic weight of their message is as raw and subterranean as any you will hear this year. The band is young, but most of the members have been playing in various configurations since not long after ditching their diapers. Weve been hearing rumbles from them for as long as we can remember. But its only with the formation of Thee Arcadians, and their decision to stick around and work on their material for a (relatively) good long while, that were really able to appreciate how far theyve come. The material on this debut album wears some of its debts on its sleeve (Mummies, Ty Segall, etc.), but there are lots of wild tongues buried in the rush of raunch here. The album is a sweet slam to the side of your head, and will make you see stars in a whole new way. Packed in a lovely Gary Panter cover, this is what you always hoped New England Cave Teens would sound like. Dig It" - Byron Coley, 2015. Edition of 300.

Artist: TOOTH ACHE
Title: Flash & Yearn
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"Winters get cold in New England. This is especially true up around Burlington VT, where the icy wind whips pinecones around so hard they can pierce metal. Thankfully, Burlington-based musician, Alexandria Hall brooks none of winters guff. Using the nom de musique Tooth Ache, she creates oppositional swirls of pure electronic heat, her voice blending and bending amidst the beats and fat key chords she uses to keep her yurt warm. There are elements of deep club music in Alexandrias work, but her sound has an ecstatic wobble that constantly shifts its gravitational center up and down a long rubbery sonic shaft. This can leave it dangling dangerously, just beyond reach, or make it wriggle in your grasping hands like a fat live sausage. As with much other Vermont music, theres a kind of druggy loveliness to the way Tooth Ache songs come together in your head, and this should make us all happy that a friend left some electronic equipment in Halls basement a few years ago, thus freeing her from the acoustic folkie shackles that had bound her earliest work. Ms. Hall has proposed three videos from the album, and the first -- "Matador" -- has now been shot and released. Much of the footage was done at Shenanigans, a combo bowling alley/strip club in White River Junction VT, and it works really well both visually and narratively. "Eurydice" and "Not Even the Moon" should follow soon. So be prepared. And warm." - Feeding Tube.

Artist: TREB, BROMP
Title: Concession Themes
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"Most dance music cuts up time like a log saw bearing down on a tied up lady. Its dramatic and everything, sure. But you can always tell whats going to happen way ahead of time. What if, instead, you threw all those beats and tempos at the ceiling and then just let the pieces fall wherever? Neil Young Cloaca makes whimsical, jiggling electronics that go from dry to juicy to unintelligible and morph again & again before you even figure them out. He has a pile of mysterious black boxes that wiggle on a table, and if you see him live, you also get a mysterious man with a big rib cage and a homemade haircut that wiggles himself jubilantly alongside the boxes. He pulls faces, leaves the stage, turns the lights on & off, freezes in awkward poses, and usually has more fun than youre supposed to playing music, dance-type or otherwise. Neil has been slinging tapes since 1991, but dove deeper into his beats and noises with the first self-produced Bromp Treb release in 2002. Hes best known to out-of-towners as the drummer from Fat Worm of Error, but all along hes been quietly running Yeay! Plastics and pinching out modest releases when moved. This Cloaca has no relation to the Canadian Neil Young by the way, and thank christ because this one is way cooler. Fat Worm has been on hiatus recently, as a couple of members have moved to the other end of the country. So theres been room for more of Neil by himself. And his sound is getting even weirder because of it. Here, finally, is a fat slab of vinyl, his first long-player. You can now dance along to Neil in your house without anyone wondering whether youre epileptic. Careful though, because youre gonna break some of the shit in your room." - Angela Sawyer, 2016.

Artist: TREDICI BACCI
Title: The Thirteen Kisses EP
Format: 12"
Label: Feeding Tube
Country: USA
Price: $20.00
Pressed on 180-gram vinyl; includes insert and download code. Edition of 300. Originally released digitally in 2013. "First vinylization of the great debut by this large Boston ensemble, helmed by Simon Hanes (ex-Guerilla Toss) and dedicated to reinventing the sounds that drove Italian cinema throughout the 60s and 70s. Their touch is goddamn perfect, including technical tropes youll recognize as updates of everyone from Nino Rota to Ennio Morricone and way way beyond. Largely instrumental, the sound blends mysterious lone trumpets, plonking percussion twangers, syrupy organ bleeds, swathes of strings (real or imagined), and clomping rhythms in a way thatll make you sit straight up in your chair and yell, Ciao! A bunch of these players were also involved with Survivors Breakfast, who played with Anthony Coleman on his most recent Tzadik disc, The End of Summer (2013), but this project trumps all others. Great stuff. Cant wait til they hook up with Asia Argento." - Byron Coley, 2015.

Artist: TURNER, GREGG
Title: Chartbusterzs
Format: CD
Label: Feeding Tube
Country: USA
Price: $7.00
"We were first introduced to the music of Gregg Turner when he was with VOM, the explicitly post-musical punk-tongue-monster he inhabited along with Richard Meltzer, Metal Mike Saunders and others. From there, he and Mike formed the Angry Samoans, who spewed an insane blend of garage/bubble-punk/hardcore noise to well-deserved acclaim. But the Samoans began including folk rock moves inside their spectrum with 1986s Yesterday Started Tomorrow EP, and most of the work Turners done since then has contained this element to one degree or another. People who havent heard Greggs recordings from the post-Samoans era may be surprised by how straightforward and outright charming some of the material on Chartbusterzs is, but he acknowledges both Jonathan Richman and Tom Lehrer in the credits, and well he should, but this is not all völk väncy. The opening track, Kremlin Dogs, with stinging lead autoharp by Billy Bill Miller (of Blieb Alien and Cold Sun) should remind everyone how deeply involved Turner was with Roky Ericksons post-prison revival. Roaring psych puss of the highest order. The Box, Turners splattery next chapter to the tale begun by the Velvets with The Gift, is another chunk of most excellent gore. As is the solid garage grunt of Look In The Mirror. But I have to admit that some of my faves are quieter tracks like Franz Kafka (which I believe is ripe for an immediate cover by Yo La Tengo) and They Took You Away, with the great Ronn Spencer on harmonica. Heard as a whole, the album -- which has been playing on constant rotation in the background for well over a month now -- is a goddamn gem. And almost surely the best album by a math professor since Lehrers last LP, released half a century back. Hopefully, Turner will not keep us waiting that long for another blast from the numerical underground. As Dee Dee Ramone so elegantly put it, 1-2-3-4!" - Byron Coley, 2016.

Artist: TURNER, GREGG
Title: Chartbusterzs
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"We were first introduced to the music of Gregg Turner when he was with VOM, the explicitly post-musical punk-tongue-monster he inhabited along with Richard Meltzer, Metal Mike Saunders and others. From there, he and Mike formed the Angry Samoans, who spewed an insane blend of garage/bubble-punk/hardcore noise to well-deserved acclaim. But the Samoans began including folk rock moves inside their spectrum with 1986s Yesterday Started Tomorrow EP, and most of the work Turners done since then has contained this element to one degree or another. People who havent heard Greggs recordings from the post-Samoans era may be surprised by how straightforward and outright charming some of the material on Chartbusterzs is, but he acknowledges both Jonathan Richman and Tom Lehrer in the credits, and well he should, but this is not all völk väncy. The opening track, Kremlin Dogs, with stinging lead autoharp by Billy Bill Miller (of Blieb Alien and Cold Sun) should remind everyone how deeply involved Turner was with Roky Ericksons post-prison revival. Roaring psych puss of the highest order. The Box, Turners splattery next chapter to the tale begun by the Velvets with The Gift, is another chunk of most excellent gore. As is the solid garage grunt of Look In The Mirror. But I have to admit that some of my faves are quieter tracks like Franz Kafka (which I believe is ripe for an immediate cover by Yo La Tengo) and They Took You Away, with the great Ronn Spencer on harmonica. Heard as a whole, the album -- which has been playing on constant rotation in the background for well over a month now -- is a goddamn gem. And almost surely the best album by a math professor since Lehrers last LP, released half a century back. Hopefully, Turner will not keep us waiting that long for another blast from the numerical underground. As Dee Dee Ramone so elegantly put it, 1-2-3-4!" - Byron Coley, 2016.

Artist: UROCHROMES
Title: Anthology
Format: LP
Label: Feeding Tube
Country: USA
Price: $16.00
"An overview of the vector, thus far anyway, of this bracing post-core duo/trio/whatever who were once based in western Mass., and are now scattered between Mass., L.A. and Montreal. The hub of the band is vocalist, Jackieboy, and guitarist, Dick Riddick. According to Jackie, the initial idea was to do “a knuckle-dragging hardcore Chrome kinda mash up with drum machine. My concept as vocalist was to front the band as a Jewish New Yorker stand-up comedian whose found himself fronting a punk band and is trying to roll with the punches. Originally I wanted the live performances to be half stand-up and half music but dropped this and just put occasional zingers in between songs.” Initially, they were based in a farmhouse in Hadley, MA and decided to use a drum-box, both because it was a Chrome-like thing to do, and also since they couldnt find a drummer who shared their twisted vision. This album includes portions of their debut show, at Florence MAs 13th Floor, in December 2014. Still a duo, they then recorded the eight tracks that comprise the Get In Line With Mental Decline EP in February 2015 at Dead Air Studios. The demo version of Confront Ya/Dickies was recorded in March 2016. The live NY show from January 2016 was recorded at Betaville, and features special guest drummer Denny McDermott. The last bit is from Greenfields John Doe Jr., recorded in March 2016. And theres no way a mere recording can convey the very special brand of chaos these menches conjure up. But if close your eyes and crank this up, youll get close enough for jazz." - Byron Coley, 2016. Edition of 413.

Artist: VAPOR GOURDS
Title: Dagger Music
Format: LP
Label: Feeding Tube
Country: USA
Price: $29.00
"Vinylization of a classic 2008 Yeay! Cassettes release, which has cast an odd thrall over local heads since it was first issued. Vapor Gourds is the solo project of local DJ, sound guy and man-about-town, Jake Meginksy, who is perhaps best known for his work in X.O.4 with Bill Nace and Johnny T. For this project, Jake has opted for a bizarre pile of machine sounds, none of them overly grating, with all sorts of near-subliminal pulse work raging around inside of em. Very hard to put a finger on exactly whats going down here. As soon as you decide to categorically shorthand the sound, Dagger Magic skitters off to another corner of the room. Parts recall everything from Sky Records synth-gush to cough-syrup dub-beats to Voice Crack-style electro-derangement. And theres plenty of stuff that defies any kind of simple language at all. Dagger Magic is a quiet masterpiece of form destruction. The more you listen, the more there is to hear, and the dagger slips ever deeper. Let it slide, baby. Edition of 300. Eye-catching cover by Bill Nace." -Feeding Tube.

Artist: VIDEO NASTIES
Title: s/t
Format: LP
Label: Feeding Tube
Country: USA
Price: $19.00
"The debut LP by Maines Video Nasties is actually a compilation of the first four cassette singles/EPs theyve released over the past three years. The band exists as a part-time project involving several key members of the Strange Maine scene. And when you listen to it, youll be less-than-surprised to learn that some of the Nasties are also involved with Portlands totally whacked Suicide tribute band, AM Frank. The music on the album, however, is a generation removed from Suicides protean aggro synth grunge. For much of this set, the models from which the Nasties seem to draw are devolved from the British experimental synth/punk scene of the last 70s (early Human League, Tubeway Army, et al.), with a soupçon of Chrome and Suicide stirred into the mix, all of it leading (at least archeologically) towards bold splooge recalling Foetus, and electronic-smudge confusion worthy of Wolf Eyes. As befits their name, which refers to a British practice of banning gore films (thanks again, Mary Whitehouse!), the lyrics refer to films almost as much as the Misfits once did. And they name-check the same sorts of films too. But the Video Nasties sound is way different from the dramatic punk howleen of Lodis favorite sons, and evolves as the album unwinds. The songs are programmed stylistically rather than chronologically, and the sonics descends from a bright almost-poppoid place into somewhere much darker, danker and coarse. Like a horrible trip to the basement with some creepy old dude you really hate. What could be better?" - Byron Coley, 2016. Edition of 300.

Artist: WE LOVE YOU/DUCK THAT!
Title: Split
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"Western Mass (via Feeding Tube Records) gives a big old hearty handshake to the Boston "reductionalist" jazz scene (read: very quiet, detail oriented, non-traditional stylings) with this great ensemble record featuring two exciting bands. We Love You (represented here by Dave Gross on sax and Polly Hanson on percussion) makes spitting into your axe and scrapping on your skins both fun and palatable. Duck That! is made up of Angela Sawyer (Weirdo Records, Preggy Peggy, Exusamwa, etc...) on duck calls and two ace hornsmen - Josh Jefferson and Steve Norton. Their side of the disc is a wonderfully textured excursion into the limits of acoustic sound. There you have it, youd swear you were in a loft somewhere in Chinatown." - Feeding Tube.

Artist: WEENY MAN
Title: S/T
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"2010 release. Here we have a collection of recordings culled from multiple found tapes, all displaying the antics of little girls and what they do with tape recorders. Featuring creepy religious songs, surrealist commercials about giant feet, radio shows about committing sex acts with stuffed animals, and on and on. Compiled by Skot Spear (Id M Theft Able) and whacked enough to make many grown man drool with anguish. Comes in a deluxe gatefold sleeve with artwork by Michael Connor. Edition of 500 copies only." -Feeding Tube.

Artist: WEISMAN, CHRIS
Title: Play Sharp to Me
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
"Tired of being pegged as the Beatle of Brat, Chris Weisman has changed gears without shifting his focus, creating a masterpiece of multi-origin pop in the process. Lyrically, the tunes on Play Sharp to Me (title nicked from James Joyce), retain their New England underground tang, rolling localisms like barrels of sweet maple syrup between the trees of heavily forested hillocks. But the sonics utilize various swathes of strange sunshine to create a unique tapestry. Weve encountered Chris using late 60s Beach Boys textures before, but on Play Sharp he adds something thats weirdly jazzy and lazy, as though that first Ben Sidran album on Capitol was an ode to surrealist parlor games or something. But whats so cool about the sound of the record is that Chris hints that hes familiar with every obscure pop genius, from Emitt Rhodes to Scott Miller to Pip Proud, without ever doing anything specific. Its more that he creates an aura in which you begin to assume he knows it all, because his grasp of elements is so absolute. This is what... the ninth album Feeding Tube Records has done with Chris? Something like that. And each one has been brilliant and idiosyncratic and unique. Play Sharp is no different. And completely different at the same time. Another miracle of creation. What are you waiting for?" - Byron Coley, 2016.

Artist: WHITE, RALPH
Title: Boundless
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"Ralph White, ex-fiddler for the legendary Austin, TX country-punk band, The Bad Livers, gives us a newly recorded collection of American and Caribbean songs, plus one original. Ralph is a truly inspirational folk artist. His music could be described as "psychedelic", but only in the way that his voice cuts straight through your psyche into the very heart of your being, melting away all resistance. No, really, its that powerful. Whites voice soars mournfully over interlocking banjo and kalimba parts that are firmly rooted in traditional Americana, but belie the influences he garnered on his cross continental African bike trip." - Feeding Tube

Artist: WHITE, RALPH
Title: Waltz Dont Run
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"This album represents a particularly whacked-out session for the peripatetic Austinite Ralph White, who is renowned for many things. Not the least of which is the fact that hes one of the few men who Michael Hurley will join on tour. Its no small thing? Most of Whites fantastic solo output makes use of his multi-instrumentalism, often with a focus on his violin or banjo playing. Here, however, Mr. White focuses exclusively on button accordion and a variety of songs that can be done in waltz-time, regardless of whether they were first planned as waltzes or not. He says that the concept first came to him when he was recording a waltz version of "Sweet Jane" for a Lou Reed tribute album. The impulse to continue creating in this vein seized him and he seized it back. The results are shockingly great. One is used to hearing such stuff done with thick English accents, bad teeth and a scholastic attitude. Whites approach is rural, American and a bit strange. The overall feel is actually more like Hurley than anything else Ralph has done, even though the sonic similarities are vague at best. A very cool record by any standard. And ours are fucking high, champ. Enjoy." --Byron Coley, 2014; includes download code. Edition of 300.

Artist: WILSON TRIO, THE GARY
Title: Another Galaxy
Format: LP
Label: Feeding Tube
Country: USA
Price: $21.00
"Before releasing You Think You Really Know Me in 1977 (FTR 236LP), Gary Wilson released his first album as the leader of a jazz trio in 1974. Playing both bass and piano, Gary cut four tracks with his band that have lain pretty far out of the publics reach for the last 42 years. But Feeding Tube is dedicated to presenting the key works of the Lord of Endicott, so we are delighted to present you with Another Galaxy. The title track is something approaching a lost spirit-jazz classic. You could dig your little paws through a lot of crates before you found its equal. The other pieces head in a direction designed to evoke the cosmic freedom of Alice Coltrane and Sun Ra, and manage to hit those notes while retaining their own strange edge. On “Study for Three” you can almost hear the roots of the strange basement experiments Gary would follow in subsequent years, but the bulk of this is shockingly brilliant jazz-qua-jazz that will slap the faces of anyone who thinks of Wilson as a vocal artist. Deep fine shit. And nothing but" - Byron Coley, 2016. Edition of 500.

Artist: WILSON, GARY
Title: Forgotten Lovers
Format: LP
Label: Feeding Tube
Country: USA
Price: $18.00
"First vinyl issue of this collection of rare and unreleased material by one of the most iconoclastic musicians produced by the 1970s. Gary Wilsons 1977 LP, You Think You Really Know Me, is a classic of alternate-universe lounge-wave, and has been cited as choice by everyone from The Residents to Beck Hansen. Forgotten Lovers includes unreleased studio tracks from the same period, subsequent singles tracks, as well as samples of Wilsons pre-You Think You Really Know Me records (a single and an album) which were more in a porn-soundtrack/jazz-funk vein. Gary has reanimated his career in the last decade, and we raise our hats to him for doing so, but this early stuff is really the donkeys eyelids. A classic bizzaro-world blend of various "real people" elements and explosive new wave dynamics. As rich as butter, youll want to spread this music on your torso to promote tanning."- Feeding Tube.

Artist: WILSON, GARY
Title: Lisa Wants To Talk To You
Format: LP
Label: Feeding Tube
Country: USA
Price: $25.00
"Vinyl actualization of a Gary Wilson album originally released on CD in 2008. The second of Feeding Tubes Wilson retrievals (following 2011s Forgotten Lovers, FTR 065LP), the label considers this the most solid of Garys post-revival albums. While it goes in a slightly different musical direction than the deranged porn-lounge inventions of You Think You Really Know Me (the classic 77 LP, heisted in toto by Beck during his Odelay phase), the naif-ache of the lyrics and the musics laid-back bowling-alley-funk-thrust reveal unending vistas of pure pleasure. Wilsons vision and performance approach are absolutely personal and shockingly naked. Like other true outsider artists (from the Shaggs to Daniel Johnston), its possible to sometimes wonder what the hell Gary is up to, but the raw sincerity of his yearning is never at doubt. As with all his best work, Lisa Wants to Talk to You is about women. How they walk, how they sound, how they smell, how they can break your goddamn heart. A fellow and/or a gal could learn a lot by dancing quietly alone in the dark to this record. Saved from the digital graveyard by your friends at Feeding Tube, its time to prepare yourself for another small miracle. So do it. Limited edition of 500, with a dazzling cover by Ted Lee. Includes mp3 download code." -Feeding Tube.

Artist: WILSON, GARY
Title: Music for Piano
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
Edition of 500. "Although it might sound perverse to say so, Music for Piano may well be my favorite Gary Wilson record. Most people who dig Wilson are very into his lyrics, but I actually find them to be a bit taxing after a while. Those early records all sound and feel amazing, but what I really wanted was to hear the music without the words. I had high hopes when I found a copy of Another Galaxy, the 1974 Gary Wilson Trio LP, but it had a very different heft than that which Gary displayed on You Think You Really Know Me. It was really just a jazz LP. Well, heres some instrumental material from the same mid-late 70s time frame as You Think, and its pretty amazing. Theres one side of classic youthful piano destruction by Gary and the late Vince Rossi (one of Garys most dependable collusionists). And the second side has five shorter tracks with a trio, that moves like oddball soundtrack music from 70s exploitation cinema (which is exactly what Id hoped Another Galaxy would be like), before ending with the vocal track I Love Gary -- as maniacally collapsed a pop song construct as anyone could hope for. Its a great record. A bit more overtly avant than the other three GW LPs weve done. But surely you can handle that." - Byron Coley, 2015.

Artist: WILSON, GARY
Title: You Think You Really Know Me
Format: LP
Label: Feeding Tube
Country: USA
Price: $20.00
Repressed. "Finally a new vinyl issue of Gary Wilsons monumental 1977 LP, with extra pics galore, and the original cover art (c/o Owen Maercks well-loved copy). Owen also wrote liner notes describing what it was like for the first Gary Wilson fan on the planet. You Think You Really Know Me (also the title of Michael Wolks 2005 documentary about Gary) was Wilsons second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision -- a syncretic collision of romance, new-wave cocktail-jazz, heartbreak, disco-porn soundtrack music, and experimental tape manipulation. Home recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck name-checked Gary in 96, which made a few new people scratch their heads. And the album was reissued in 02. Rediscovery followed, and records, the documentary, and some odd live shows followed. Most of Garys moves are stamped with his unique aesthetic, and we particularly commend Garys other two Feeding Tube LPs -- Lisa Wants to Talk to You and Forgotten Lovers. But as bodacious as these two albums are, the real root of Garys muse is most obvious on You Think You Really Know Me. It is the sound of a 23 year-old oddball from upstate New York, wrestling with his demons and actually winning. Theres nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah!" - Feeding Tube.

Artist: WIZARD PRISON
Title: Next Cycle
Format: LP
Label: Feeding Tube
Country: USA
Price: $14.00
"Made up of Scott Colburn (producer/engineer for Sun City Girls, decade long member of Climax Golden Twins and audio wizard for Sublime Frequencies), John Vallier (an early member of CGT) and Ben McAlister (of the Degenerate Art Ensemble), Wizard Prisons music flirts with stoner metal riffery, cosmic electronics and field recordings, often at the same time. These Seattleites sound is in a state of constant "becoming". Each side long suite works as a seamless piece that goes along with a story told in haiku. Chiming or churning guitar/bass/drums give way, to pulsating synths and pitch-shifted foreign voices chanting to open an alternate dimension, perhaps. Never diverting from its mission or mood, "Next Cycle" is eminently listenable and is sure to warrant repeated spins on your turntable. To make a great record even better, weve added the exceptional talents of Baltimore comix hero Eamon Espey. His dark and humorous work, on the jacket and poster ties the whole album together." -Feeding Tube

Artist: ZEBU!
Title: Bag of Sand
Format: LP
Label: Feeding Tube
Country: USA
Price: $15.00
"Edition of 100. Ted and Steve occupy the noise parts of their Amherst cellar during the spring of 2008. Although there is a piano upstairs, most of the recording occurred with pedals looping in your brain and fuzz for your face. Tape samples and distorted fun make a broken soundscape of trash-rock. Drastically different than their previous releases, ZEBU! defines a new pattern of true noise experimentation that would come to fill their sound. -Feeding Tube "Anyone into crazy ass free rock or the more adventurous scuzzy basement punk spheres should do themselves a favor and check these guys out." -Auxiliary Out

Artist: ZEBU!
Title: Chill Wave
Format: LP
Label: Feeding Tube
Country: USA
Price: $19.00
"Feeding Tube Records is proud to present ZEBU!s eighth record. The basic duo consists of Steve DAgostino and Ted Lee, but they are neither averse to allowing guest members to pop in for a few shots, nor are they afraid to allow their releases to follow certain semi-conceptual boundaries. This, this one -- if actually categorizable as anything -- serves as ZEBU!s surf album. With saxophone by Peter Van Siclen, and bass by either Jonathan Granoff or Stephen Surrett, ZEBU! creates an atmosphere not unlike the woozy venues frequented by Eric Von Zipper in William Ashers mid-60s series of beach movies. There are a couple of slow tunes tossed in for Annette, but the large part of this stuff is classicist American instrumental ho-daddyism. The structure of the album is typically whacked -- snippets of Volcano Suns-like indie-rock and semi-abstract power blurts pop up here and there -- but the semiotic heft of the record is shockingly straight-ahead. Its almost as though these guys were trying to figure out how to make teenagers spin their pony skirts the way they once did. Catch a wave and youre sitting on top of the world. Honest." -Feeding Tube.

Artist: ZEBU!
Title: Hagenwerder-C
Format: LP
Label: Feeding Tube
Country: USA
Price: $14.00
"Edition of 100. In the tiny town of Hagenwerder in the former GDR on the border with Poland, is an abandoned, destroyed Coal power plant. During their second German tour, ZEBU! got inside this building and recorded 45 minutes of resonant exploration. Ted hits the walls, lifts the dust from the floor and hops his way through Soviet History. 7 seconds of natural delay, and bass demons of unknown frequency define this echo-filled performance." -Feeding Tube

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