Within the fertile West Coast rock scene of the 2010s, Meatbodies’ Chad Ubovich was a perennial candidate for MVP. Over the course of the decade, the Los Angeles native could be seen peeling off guitar solos in Mikal Cronin’s backing band, supplying the Sabbath-sized low end for Ty Segall and Charlie Moothart as the bassist for Fuzz, and, of course, fronting his own Meatbodies. That recently dormant noise-damaged freak-rock outfit now returns with 333, a corrosive stew of guitar scuzz, raw acoustic rave-ups, and primitive electronics. That acidic mix didn’t come from nowhere. Because the downside to maintaining such a prolific work rate is that the threat of burnout becomes a looming occupational hazard, and after touring behind Meatbodies’ second album, 2017’s Alice, Ubovich finally hit his breaking point.
“I’d been touring for eight years straight with all these bands, and just couldn't do it anymore,” he says. “There was also a feeling in the air that everything was changing, politically. Things just didn't feel right, and I went down a dark path.”
Fortunately, Ubovich was able to pull himself back from the brink and, upon getting sober, began writing and recording at a furious pace. By mid to late 2019, Meatbodies—Ubovich and drummer Dylan Fujioka—had a new album in the can, ready to be mixed. But when COVID hit, the band, like so many other artists, put their release on hold as they rode out the pandemic’s first wave. During that idle time, Ubovich discovered a cache of demos that he and Fujioka had recorded in a bedroom back in the summer of 2018, and he really liked what he heard. In contrast to Meatbodies’ typical full-band attack, it was deliriously disordered. “It sounded gross, like a scary Magical Mystery Tour,” he recalls proudly. After subjecting them to some mixing-board freakery, Ubovich fast-tracked the songs into becoming Meatbodies’ third release, 333.
But while the new record diverts sharply from the evolution established by the punk rippers of Meatbodies’ 2014’s self-titled debut and the fuzz-metal fantasias of Alice, it’s born of the same econo spirit that birthed the band in the first place. Ubovich founded Meatbodies in 2011, when a new generation of outfits rose from the ashes of the previous decade’s geopolitical tumult. The period set a whole generation adrift—there were no jobs, no money, no opportunities. The stability of previous eras was out of reach. But for artists like Ubovich, there were still ways to move forward. “We had vans and guitars,” he says. “So we made our own thing.”
While 333 charts Ubovich’s journey from drug-induced darkness to clear-eyed sobriety, it also reflects how the world he re-entered was still pretty messed up—if not more so. That psychic tug-of-war plays out on the opening “Reach for the Sunn” whose distorted slow-motion creep leads to a chorus both celebratory and dispiriting: “Reach for the stars/reach for the sun/reach for the trigger/reach for the gun.” In writing these songs, Ubovich realized that he wasn’t so much singing about his own path, but something much greater than himself. “These lyrics are dark, but I think these are things that a lot of people are feeling and going through, especially Americans,” he says. “We’re watching the fall of U.S. capitalism, and 333 is a cartoonish representation of that decline.”
But as much as it speaks to the disillusionment of a lost generation, 333 also abounds with the innovation that limited resources can inspire. To set the Zeppelin III-styled pagan-campfire jam “Let Go (333)” in motion, Ubovich tapped out the beat with drumsticks on his pillow, while “Nighttime Hidden Faces” melds two completely different demos together, steering its Stereolab synth drones into a mind-bending boogie worthy of Royal Trux. The instrumental “Eye Eraser” might be 333’s greatest example of hermetic ingenuity—what may have turned into a shoegaze rager is instead rendered as a blissful union of brain-fogging fuzz and minimalist electro beats.
Ironically, by working within a tighter lo-fi schematic on 333, Meatbodies have greatly expanded their palette, opening new portals to explore. And yet for all its free-ranging experimentation, 333 arrives at a tidy, full-circle conclusion with the sundazed serenade, “The Hero,” a song that Ubovich sees as a logical bookend to the opener. As he explains: “One is the id, one is the super-ego, Although I don’t know which is which. They're both very sardonic and defeatist in a lot of ways, but ‘The Hero’ is supposed to be a little funnier, laughing at everything.” He’s earned the right to a chuckle: For an album that wasn’t supposed to exist, 333 is the ultimate testament to Meatbodies’ renewed vitality.
Available on Double LP & CD. Starts shipping mid August.
LOS ANGELES, Calif. — Divine Horsemen, the fiery, eclectic ’80s group that rode the unique vocal chemistry of Chris Desjardins (a.k.a. Chris D.) and Julie Christensen, return to the musical stage with Hot Rise of an Ice Cream Phoenix, a collection of all-new recordings, on In the Red Records on August 20.
Co-produced by Desjardins and Craig Parker Adams (who engineered I Used to Be Pretty, the 2019 release by Chris D.’s groundbreaking ’70s punk band the Flesh Eaters), the new 13-track album comprises the first new music by the Horsemen in 33 years.
Founded after the dissolution of the Flesh Eaters and launched with the 1984 Enigma Records album Time Stands Still, billed as Chris D./Divine Horseman, the band released three albums and an EP on SST Records, all of which featured the searing harmonies of Desjardins and Christensen, who were married at the time. The couple split professionally and personally just prior to the release of their January 1988 EP A Handful of Sand.
However, the two musicians remained in touch over the years, and Christensen contributed vocals to five tracks on I Used to Be Pretty, which reunited the 1980 “all-star” edition of the Flesh Eaters heard on the Ruby/Slash classic A Minute to Pray, A Second to Die. By then, the idea of reviving Divine Horsemen was already percolating.
“Julie had asked me about six or seven years ago about doing Divine Horsemen again,” Desjardins says. “I told her I wasn’t quite ready yet, though I did want to do it eventually. Then in 2015 the Flesh Eaters started doing reunion shows. In 2018 we did it some more, and we recorded the album, released it in early 2019, and we went out on tour and supported it. Since the beginning of 2018, Julie and I had been talking about Divine Horsemen again.”
Christensen — who had moved on to work with Leonard Cohen in the 1990s and release seven albums of her own work — adds, “We recorded I Used to Be Pretty in April of 2018. Previous to that we had started plans for a Divine Horsemen tour in the fall, playing older stuff. Chris had song ideas and cover ideas for a studio album — it was just kind of forming in his head. I started looking for covers, too. I did some of the Flesh Eaters ‘live’ gigs the first three months of 2019, and found out that we were getting along really well.”
The singers’ plans called for reuniting with such onetime Divine Horsemen as guitarist Peter Andrus, who had appeared on A Handful of Sand and the 1987 album Snake Handler, and bassist Robyn Jameson, who had worked with Desjardins on the majority of his recordings between 1982 and 2004. However, Jameson tragically died in 2018 following a street assault; Bobby Permanent, Andrus’ longtime musical collaborator, was recruited to take the late musician’s slot on the new recordings. Andrus is also a veteran of bands Crowbar Salvation and Detroit’s the Volebeats. Permanent (under the name Robert Pollard) has also contributed to various movie soundtracks, most notably John Cassavetes’ final film, Love Streams.
The 2021 Divine Horsemen lineup is completed by drummer DJ Bonebrake of the incomparable L.A. band X; he also was a member of the 2018 recording and 2019 touring editions of the Flesh Eaters (which also included X’s John Doe, Dave Alvin and Bill Bateman of the Blasters, and Steve Berlin of Los Lobos). Keyboardist Doug Lacy, another veteran of the Snake Handler sessions, returns to the fold; he and Christensen both later sang backup for the duo of Gaby Moreno and Van Dyke Parks, and Lacy has appeared on several of Parks’ other projects.
The release of Hot Rise of an Ice Cream Phoenix was prefaced in late 2020 by Feeding Tube Records’ package of unreleased vintage recordings Divine Horsemen ‘Live’ 1985-1987 and two Bandcamp singles, “Mystery Writers,” a new composition by Desjardins and Andrus, and “Mind Fever Soul Fire,” a song that originally appeared on Love Cannot Die, a 1995 Chris D. solo album issued by Sympathy for the Record Industry. (A new rendition of that set’s title song is also heard as the concluding track on the new album; a high-intensity re-recording of “Handful of Sand,” the 1988 EP’s title number, is also featured.)
The new material on the album reflects a diversity of sources.
“I wanted to mash up some European folk material,” Desjardins says of “No Evil Star,” a madrigal-like composition. “There are a whole bunch of sites on the internet that have public domain folk songs from Europe, specifically England, Scotland, and Ireland. These are all from the 1700s and 1800s. The music for the verse is from one folk song I found on a Celtic folk site. The words are all original. But the chorus music is not Celtic, it’s more Latin — they also had a few Spanish folk songs on there. Peter joked when we were working up that tune that it was our Jethro Tull song.”
Like “Ghost Cave Lament” — the sprawling number that concluded I Used to Be Pretty — both “Barefoot in the Streets” and “Stony Path” reflect Desjardins’ ongoing fascination with Spanish flamenco.
“Those songs are linked lyrically,” Desjardins says. “‘Stony Path’ is a continuation of ‘Barefoot in the Streets.’ They’re both murder ballad-styled songs. The lyrics of ‘Barefoot in the Streets’ is flamenco-inspired, but the music is not really Spanish — Julie came up with the music.”
Christensen says the writing of the latter number came late in the recording of the album: “Chris called and said, ‘You know, I’ve just been remiss. I feel like we should write a song together, and I have this “barefoot in the streets” idea.’ He’d already written the lyrics. He had a little bit of a melody idea, too, but not much of one — there was just the scan of it.”
She adds that singing “Stony Path” presented some unique vocal challenges: “Flamenco singers break their voices in order to do what they do.” The song was left for the end of the album sessions, and she nailed her demanding part in a single take.
Christensen is represented as a co-writer on another song, “Falling Forward,” written with Lathan McKay. “He’s an actor and musician who lives in Austin,” Desjardins says. “He’s also the foremost authority on Evil Knievel!”
Beyond her writing, Christensen served an invaluable function by finding outside compositions for the album.
“I found a couple of covers from Tennessee writers,” the former Nashville resident says. “‘Any Day Now’ is by Tim Lee and Susan Bauer Lee. They used to have a band called Tim Lee 3, he was also in a band called the Windbreakers, and now Bark. They used to get hold of Divine Horseman LPs and hand them out to people – ‘Here, you’ve gotta hear this.’ We got to be fast friends, and their song ‘Any Day Now’ just floored me.
“‘Strangers’ is by another Tennessee writer named Johnny Duke — he wrote it with Will Kimbrough. I originally heard it acoustically, just him and a guitar. I spoke to him after I heard him play it, and I said, ‘I don’t know if you’d be into this, but I have this band, and I’d love to try doing it with them as a Neil Young and Crazy Horse kind of thing.’”
Hot Rise of an Ice Cream Phoenix is rounded out by a typically diverse selection of covers. “25th Floor” is a Patti Smith-Ivan Kral original, heard on the 1978 album Easter. “Ice Cream Phoenix” was a vehicle for the vocal harmonies of Grace Slick, Marty Balin, and Paul Kantner on Jefferson Airplane’s 1968 LP Crown of Creation. But the album’s greatest curiosity may be the raucous, profane “Can’t You See?,” an oddball tune that had obsessed Desjardins for years.
He says, “That’s a song written by Charlie Cuva and Robert Downey Sr., for Downey’s movie Pound. I’d heard that song at the Fox Venice Theatre in 1972, in the intermission of a double feature. Robert Downey Sr. had pressed up 100 or so copies of five songs from Pound to send out to independent theaters, as a promotion. It was never commercially released as a record. I had not heard it in years, and the guy who put out my book A Minute to Pray, A Second to Die sent me an MP3 of it. When the prospect came to do this album, I thought, we’ve got to do this. I played it for Julie and Peter, and they went through the roof over it.”
In all, Hot Rise of an Ice Cream Phoenix stands as a bracing new achievement by a distinctive musical partnership that has always marched to the beat of its own drum. Like the Flesh Eaters’ recent reunion, it’s a welcome return that plays to the group’s historic strengths.
“It was really good for both of us,” Desjardins says “and we really enjoyed it. There’s also — unintentionally — context in some of those songs about what happened between us as a couple.” Christensen adds, “One thing Chris has always been adept at is taking a song, and you hear the raw bones of it, and then he casts the band so well, and he runs a rehearsal like a tight ship. We would fashion these gems of songs out of rocks. He’s always been really good at directing a song toward what it’s supposed to do.”
It should be noted, in addition to producing (or co-producing) all of his Flesh Eaters and Divine Horsemen efforts, Desjardins has a modest but important legacy as an A&R man/in-house producer at Slash/Ruby Records from 1980-1984, co-producing with Tito Larriva seminal work by the Gun Club (their debut album, Fire of Love), producing the Dream Syndicate (Days of Wine and Roses) and Green on Red (Gravity Talks), and mixing with Glenn Danzig the Misfits (Walk Among Us). He also shepherded the Lazy Cowgirls on their eponymous debut (released through Enigma subsidiary Restless Records in 1985). Last but not least, Desjardins produced Soulsuckers on Parade, a wildly unhinged, never-available-before-to-the-public 1984 session by Jeffrey Lee Pierce (with a backing group of then-Blasters Dave Alvin, Bill Bateman, and Gene Taylor, and Green on Red’s Jack Waterson) that is only now being released in 2021 by Minky Records — 36 years later!
The Scientists - Negativity April 20 2021
“Swing From The Sean De Lear” is the new 4 song EP by Kid Congo & The Pink Monkey Birds on In The Red Records. It celebrates dreamlike bridge between life and memory. Recorded and mixed with Jim Waters, (Jon Spencer Blues Explosion, Sonic Youth etc.) at Waterworks Recording in Tucson AZ, “Sean DeLear”, is a tribute to the late, magical, and ubiquitous Los Angeles underground institution named Sean De Lear. The rocking song uses the metaphor of those passed on as swinging from a chandelier, a festive image we all hope is true!
Side Two of the EP is a 14 minute psych, Chicano groove titled “He Walked In.” The text is based on a visceral fever dream Kid had about his friend, and Gun Club bandmate, Jeffrey Lee Pierce, whom passed away in 1996. Leading us back to the theme of feelings sustained between life and memory, the song dreams on as the band spreads their monkey bird wings, Mark Cisneros on flute, and guest, tambourine queen Cesar Padilla lost in music but found in sound.
In such uncertain times, one thing is most certain; Kid Congo & The Pink Monkey Birds will always bring the party.. and the other world.
Limited edition on pink and black splatter vinyl.
Happy FUZZ III release week!!
Pre-Order DEMOLITION DOLL RODS & New book by ROSS JOHNSON September 28 2020
Those masters of Motor City mayhem have returned. Perhaps the only band to be asked by a promoter to keep their clothes on, the Demolition Doll Rods – who have not been in a studio together in fourteen years – are set to unleash Into the Brave in October 2020.
Our friends at Spacecase Records have done a real public service by releasing this fantastic new book by Ross Johnson! Ross Johnson (Panther Burns, Alex Chilton, Jeffrey Evans, etc.) puts it down over 153 pages in his long-awaited memoir. Everything’s here — from bagging groceries for the late Al Jackson, Jr., at the Big Star grocery store to his thoughts on the present-day Memphis scene. In between Ross discusses writing for CREEM in its halcyon days, playing on Like Flies on Sherbert, the brilliance of Lesa Aldridge and Jim Dickinson…and that’s just the beginning. A must have for fans of Make it Stop! and Memphis music. Limited to 200 copies.
Red Lights (Jeffrey Lee Pierce) / CCR Headcleaner / Lamps August 17 2020
The Return of FUZZ July 22 2020
Fuzz is back with their first new album in 5 years "III" Listen to the debut single "Returning" here
LP / CD available here
Shirts and pin available here
One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are FUZZ. FUZZ is three. And III has returned. Songs for all, and music for one.
III was recorded and mixed at United Recording under the sonic lordship of Steve Albini. Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave FUZZ the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for FUZZ -- three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long you can hold on before you’re thrown off.
Album opener “Returning” serves as a sort of mission statement for the album. It’s an auditory meditation on the power of one and the different perspectives of one, whether it is the singular person looking inward, or a group of people coming together as a single unit. Not only is it an echo of the return of FUZZ, but also a broader return to form - raw and empowered through vulnerability.
“Nothing People” and “Spit” served as a launching point into the new sphere that would become III. They were written around the same time, and felt like they opened two different doorways -- familiar in some ways and new in others. “Time Collapse,” a rogue cut from the days of FUZZ’s II, landed soundly on the scorched surface of side A to round things out.
“Mirror” opens up the B side and the collective consciousness. Mirroring the call to arms of “Returning,” the song asks the listener to link arms with the band, march to the same drum of love, and create a space of equality among the freaks. The pummeling rhythm demands the request to crush the mirror that feeds you lies. In the end, it’s a ballad for the unique, twisted, and natural self that should be exalted before any falsehood.
The stomping back half of III serves as a self aware call out to the lineage in which this record calls home -- both personal and general in the historical context of raw power trio records. “Blind to Vines” and “End Returning” accentuate the meditative qualities of FUZZ. While coming from opposite ends of the spectrum, they balance restraint and compulsion. FUZZ will ultimately cave to compulsion. That is without question. But what good is a freak out without an initial glance inward? “End Returning” takes that look inward and scrambles the timeline. It finds peace and challenges it in the next breath. Arguably, it brutalizes this peace to test the foundations on which it rests, inevitably bringing the origin back into focus.
Three points reflected in three Mirrors; a pyramid of sonic destruction and psychic creation. Nothing People feed the roots while the freaks fly free in the treetops - Blind to Vines, Eyes Closed, Stuck in Spit, triumphing the Returning of beginnings and Ends Returning while beginning to see the Time Collapse. Love is the only way to annihilate hate, and Sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.
We hope everyone is staying safe and well during this time of unprecedented weirdness. Despite the fact that most everything is closed down right now, we’re still making records. When things start to reopen we’ll have some pretty amazing stuff to announce but right now we have these awesome new releases ready to order:
We’re proud to announce the new solo album by Don Howland. Don’s been pursuing his brand of scuzzy roots rock for over a quarter of a century, first as a member of the Columbus’ beloved Gibson Bros and later as the main man in the Bassholes. His music is a raw convergence of country blues, ’76 punk and lo-fi garage. Don was one of the original flagship artists for In The Red and we’re happy to be working with him again. Don’s been a crucial figure in underground music for several decades and is of American underground’s true originals. Limited edition on splatter vinyl.
Another Don Howland-related album! That’s right, we’re putting out two albums by the man at the same time! That’s how much we love him and his music. This full length is by his now defunct five piece band Burning Bus. The band released two 7”s earlier this decade and recorded this album which has laid dormant until now. While Don’s solo work and the Bassholes tend to be stripped-down, terrible-kicking affairs, Burning Bus is a full throttle three guitar and bass attack. It’s much noisier and more brutal than anything else he’s done. Fans of Pussy Galore will want to take note. Limited edition on splatter vinyl.
Also in from our pals at Spacecase Records we have these awesome new titles:
Rubber Blanket is a new group featuring Brad Eberhard and Jun Ohnuki of Wounded Lion and The Intelligence’s Lars Finberg. This is their debut LP. For fans of The Screamers, Fast Product-era Human League, and The Better Beatles. Limited to 500 copies.
The 7” features Walter Daniels’ usual all-star lineup, including Texacala Jones (Tex and the Horseheads), Marco Butcher (Jam Messengers), Cypress Grove (Jeffrey Lee Pierce) and Luis Tissot (Jesus and the Groupies). Cover art by Art Chantry. Limited to 300 copies.
Also, we’re now shipping Alice Bag’s awesome Sister Dynamite album. Flame color vinyl is going fast!
PRE ORDER: ALICE BAG - SISTER DYNAMITE February 25 2020L.A. punk icon Alice Bag has announced her new album Sister Dynamite,
out April 24 on In The Red Records! Her third solo effort, the album marks a thrilling return to the full-throttle punk that Bag pioneered with her legendary first-wave punk band, The Bags. An unbridled celebration of community and the undeniable power in embracing your own truth, the collection confronts some of the most pervasive problems troubling our world today: unchecked privilege and willful ignorance, systemic inequality and fragile masculinity. Bag will kick off a national spring tour on March 6 in Vancouver, joining her like minded sisters Bikini Kill on several dates. Tickets will go on-sale Friday February 28 @ 12:00pm local time.
NEW LAVENDER FLU! + RECORD STORE DAY RELEASES February 19 2020
THE VICTIMS - LP & 7" EP October 21 2019
The Victims - s/t LP
The Victims - Horror Smash 7” EP
Punk music, at its most effective, its most important, exists at a nexus of a few simple but important ideas. Punk needs to be youthful, it needs to be reactionary, it needs to be short-lived and it needs to be controversial.
So for a group of twenty-something Australians, excitable as the frontline first wave of kids responding to both the Ramones and the Sex Pistols (yet still influenced by the New York Dolls and Stooges and Flamin’ Groovies), who existed for but barely for a year from 1977-1978 and wrote songs about serial killers, high school girls and hating disco…well, I’d argue they are the most perfect punk band ever.
The band was Dave Flick (aka Dave Faulkner later of the Hoodoo Gurus) on guitar and vocals, Rudolph V (Dave Cardwell) on bass and James Baker on drums. Best known for their classic “Television Addict”, that song is but the tip of the iceberg of the band’s powers. Having self-released two godhead 7-inches during their brief existence, the seven songs on those singles are absolute cannon at this point. Quintessential, pure, unfuckwithable.
Of particular note is the blast beat, proto-hardcore velocity of “Perth Is A Culture Shock” an ode to the band’s isolated hometown, unreleased at the time, which presages the vibes that would emanate from Black Flag, Minor Threat and Negative Approach in just a few years.
And all that is just side one of the LP.
Side two contains a bounty of unreleased-for-decades demos of nine otherwise undocumented Victims originals. Demos in name alone, these properly recorded songs brim with all the identifying marks of the known Victims classics…irreverence, taking the piss, murderers and an invigorating youthful attitude.
The sheer perfection of songs like “Horror Smash” and “I Wanna Be With You” only further cements how essential the Victims were…that even their outtakes are A+ prime material.
The last thing to remember about punk as a theory, an aesthetic, is that its "ideas" are all bullshit anyway. That’s easily proved by the 7” EP released alongside this release of new recordings of “Charlie”, “Horror Smash”, “I Wanna Be With You” and “Everynite” which proves that the Victims now (featuring Ray Ahn from the Hard-Ons on bass), some 40 years after their heyday, could still easily take on any au courant band half their age
The LP comes in a handsome gatefold foil-stamped cover. Limited edition color vinyl on both but, black is always best! Essential!
The DUM DUM BOYS - Let There Be Noise LP September 12 2019
NEW! SKULL PRACTITIONERS / DAN MELCHIOR BAND / TYVEK July 26 2019
THIS JUST IN: NEW STUFF AVAILABLE FOR PRE-ORDER NOW!
Skull Practitioners - Buy Death 12” EP
We are proud to announce the debut vinyl release from NY’s Skull Practitioners - a three piece featuring Jason Victor (current lead guitarist in the Dream Syndicate), Kenneth Levine and Alex Baker. This band’s brand of heavy psych post punk skronk is some of the coolest sounds we’ve heard in eons and we are excited to be working with them! Jason’s guitar shredding is positively brain splattering and Kenneth’s huge bass throb and Alex’s propulsive drumming make these guys sound bigger and heavier than most five piece bands. This 12” is limited edition, vinyl-only. A full length is in the works. You need this!
Dan Melchior Band - Negative Freedom LP
The highly prolific Dan Melchior is back again with a new album - this time with the Dan Melchior Band. The band consists of Dan (obviously), Adam Charles Cooper and Pat Ganely, both formerly of the Taiwan Housing Project. Negative Freedom once again proves Dan to be a treasure who continues to musically and lyrically evolve in the most twisted way. His garage/blues tendencies of his early output have all but completely given way to weirdo/outsider post-punk damage, though this record still rocks…sorta the same way The Fall rocked. With as many records as Dan Melchior has already unleashed on the world you may ask yourself “do I really need another one of his albums?” When you hear Negative Freedom you will no doubt answer “YES!” Limited edition on red vinyl.
Tyvek - Changing Patterns Of Protective Coating 4 song 7” EP
We are happy to be distributing this brand new, limited edition seven inch EP which the band has just pressed up themselves. If you’re on this mailing list then you are no doubt already familiar with this incredible Detroit-based band and you already know you need this. We have a couple of new Tyvek releases in the works but, in the meantime, this fantastic record should keep you tided over.
Pre-Order: CFM - Soundtrack To An Empty Room June 17 2019
Phast Phreddie and Thee Precisions - Hungry Freaks Daddy b/w What a Friend I Have in Whiskey 7"
Forty years ago, rock scribe Phast Phreddie Patterson of Back Door Man fame formed Thee Precisions with Jeffrey Lee Pierce (Gun Club). Phreddie was known for putting LA supergroups together for Precisions recordings; “What a Friend I have in Whiskey” features Jeffrey Lee Pierce on guitar—his earliest appearance on vinyl—The Screamers’ KK Barrett on drums, Phreddie on vocals and Precisions mainstay and fellow rock writer Don Snowden on bass. The cover of the Mothers Of Invention’s Hungry Freaks Daddy is killer!! Limited to 300 copies. An essential piece of LA rock history!
Coming soon new stuff from: Dan Melchior Band, Victims, Dum Dum Boys, Don Howland and Burning Bus!
New stuff from In The Red available for pre-order!
Richard Rose - four song 12” EP
WOLFMANHATTAN PROJECT – Blue Gene Stew LP/CD
The long awaited debut full length from the Wolfmanhattan Project is finally here! The band is comprised of Bob Bert (Pussy Galore, Sonic Youth, Chrome Cranks, ect), Mick Collins (Gories, Dirtbombs) and Kid Congo Powers (Gun Club, Cramps, Pink Monkey Birds, ect) and the men's extensive musical backgrounds should give you some clue as to what they're all about. Delivering on the promise of the band's debut single, Blue Gene Stew is a wild combination of garage rock, no wave and all around guitar fueled weirdness. Limited edition on color vinyl.
The SCIENTISTS – 9H2O.SiO2 12” EP
We are proud to announce the first Scientists 12” 45 since the the equally difficultly titled 'This Heart Doesn’t Run on Blood This Heart Doesn’t Run On Love’ in 1984. 9H2O.SiO2 is five brand new original tracks from the Scientists released just in time for their upcoming US tour. They sound as fuzzy and scientific as ever. Limited edition on color vinyl.
The Revenge – 4 song 12” EP
The Revenge were a UK punk band who released two seven inch singles in 1978. The records were self released, pressed in very small quantities and and are incredibly rare nowadays. The prices that originals fetch are nuts. They are also two of the most primitive, raw examples of three-chord punk rock to come out of the late 70's UK punk scene. We have arranged with the band to give the first legitimate reissue of these two punk rock gems and we are thrilled. They've been remastered by Mikey Young and this 12” sounds louder and better than the original 7”s! Limited edition on color vinyl.
We are stoked to announce the brand new In The Red monster head sweatshirts and t-shirts!!!
Featuring an image that we shamelessly stole from an episode of Leave It To Beaver, we feel that this new design is our boldest to date. We have taken this eye-popping image and lovingly made it our own on our very first sweatshirt printed on high-quality, super-soft Alternative brand grey sweatshirts and Next Level Apparel baseball t-shirt. This crazy monster head design made poor Theodore Cleaver a pariah at his school back in 1957 but we're confident it will make you an instant hit wherever you go now. Limited supplies.
COMING SOON! March 22 2019
Scientists - 9H2O.SiO2 - EP
Wolfmanhattan Project - Blue Gene Stew - LP & CD
LTD - Stop Und Fick Dich - LP & CD
CFM - Soundtrack To An Empty Room - LP & CD
Richard Rose - S/T EP
Dan Melchior Band - Negative Freedom - LP
Don Howland - Endgame LP
A Burning Bus - LP
Make sure to sign up for our newsletter for exclusive pre-order news and updates! Just send your preferred email address to: firstname.lastname@example.org
Pre-order: THE C.I.A. + Out of print titles back in stock! November 30 2018
✱ Watch the videos for "Pleasure Seeker” and "Oblivion" HERE
JON SPENCER + THE SIDE EYES + CCR HEADCLEANER October 22 2018Available for pre-order now!
SURPRISE! Ty Segall has a new covers record: Fudge Sandwich September 05 2018SURPRISE! We are pleased to announce the new TY SEGALL covers album - FUDGE SANDWICH - out October 26th on In The Red. Better yet, it’s available for PRE-ORDER right now! Listen to the lead single "I’m A Man" on the ITR youtube page to get a feel. Link in bio. You can read more about it on his artists page as well .
GØGGS + Jeffrey Evans and Ross Johnson + more! September 03 2018Available for pre-order now!
With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 and the beginning of 2018 by GØGGS guitarist and co-founder Ty Segall, Pre Strike Sweep explores the damaging affects of modern life before blowing them up one by one. Singer Chris Shaw uses terms like “space rinse” and “roadside surgery” to inform the listener that this is a strange and different trip, far and away from the Glendale Junkyard he romanticized in 2016, while bassist Michael Anderson and Charles Moothart (drums, guitar) provide a white-hot, pummeling rhythm to the rejuvenated GØGGS sound. In fact, all expectations brought on by GØGGS acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps. Limited edition on color vinyl. Starts shipping mid September.
Available now from our friends at Spacecase Records!
Keep your eyes on ITR social media this Tuesday 9/4 for some exciting news!
WARM DRAG debut LP August 17 2018
In The Red are proud to announce that the debut album from Warm Drag is ready to order!
- Page 1 of 3