In 1967, master of bubblegum Joey Levine had started writing with Artie ('Under The Boardwalk') and Kris Resnick, a collaboration that was to produce practically every song in the bubblegum genre. But first, in the spirit of the age, they produced their masterwork: "Id Music" by The Third Rail. An orchestral psychedelic adventure into denunciation of the advertising fuelled culture of 1960's America. 

Ulrich Schnauss Releases First Studio Record in Three Years
Goodbye Marks His First New Material For Domino

Ulrich Schnauss' third album, Goodbye, is his first new release for Domino on July 10th. The album is the end of a chapter in his sound. "I see these three albums as moving closer to something I wanted to do right from the beginning but didn't quite manage," he says. "Merging songwriting and indie elements with electronic music. I've tried to take all the ideas to the maximum."

The ambient tracks are more spacious, the songs more memorable, the multi-layered, guitar-heavy tracks more ragingly psychedelic. Just listen to the obliterating rush of "Medusa," or the cloudbusting dream-pop of "Stars" (performed with long-time collaborator Judith Beck). At times, there are over 100 different audio tracks playing simultaneously: a tower of song. No wonder Goodbye has taken three solid years of in the studio.

After a few years of watered down, pseudonymous productions which he'd rather you didn't seek out, Ulrich released Far Away Trains Passing By. He was amazed they even wanted to release it; more amazed still when it became a cult success. Its more rock-influenced successor, A Strangely Isolated Place, received an even warmer response, from critics and other musicians alike. It led to Ulrich remixing some of his shoegazing heroes (Neil Halstead and Rachel Goswell of Slowdive, and Mark Gardener of Ride), as well as Depeche Mode, Justin Robertson, Lunz (Hans-Joachim Roedelius), and Longview.

Tired of the Berlin scene, Ulrich moved back to his hometown of Kiel to make Goodbye. Most of his schoolfriends had moved away, so he didn't have to worry about distractions. His last two album titles spoke of isolation, but was that the pain of enforced loneliness or the comfort of voluntary solitude. Goodbye is equally ambivalent. "Emotionally, I find farewell situations interesting," he says. "Saying goodbye can be tragic or hopeful."

Preceding Goobdye comes the Quicksand Memory EP announcing the return of Ulrich Schnauss. The EP features an edit of the stunning "Medusa" from Goodbye, a collaboration with Rob McVey (Long-view) titled "Look At The Sky" and Robin Guthrie (Cocteau Twins) re-workings of two of Ulrich's most celebrated songs from A Strangely Isolated Place, "Gone Forever" and "On My Own".

Tracklist:
1. never be the same
2. shine
3. stars
4. einfeld
5. in between the years
6. here today, gone tomorrow
7. a song about hope
8. medusa
9. goodbye
10. for good

Domino are proud to announce the release of Tromatic Reflexxions, the debut album from Von Suedenfed, out June 5, 2007. Von Suedenfed is a trio formed by ANDI TOMA and JAN ST. WERNER of MOUSE ON MARS and THE FALL's brilliant, anarchic frontman MARK E. SMITH.

Von Suedenfed successfully leads Mouse on Mars and Mark E. Smith in new and unexpected directions where they've never gone as separate entities. Tromatic Reflexxions, has the energy of "a hybrid band -- a futuristic band playing grime or ska or soca like a pirate radio station" with electro, dubstep and disco thrown into the mix. It combines the genre-smashing attack of early-millenia club music with Mark E. Smith's free-associating visionary wordplay.


Tracklisting is as follows:

 1.  Fledermaus Can't Get Enough
 2.  The Rhinohead
 3.  Flooded
 4.  Family Feud
 5.  Serious Brainskin
 6.  Speech Contamination/German Fear Of Osterreich
 7.  The Young The Faceless And The Codes
 8.  Duckrog
 9.  Chicken Yiamas
10. That Sound Wiped
11. Jbak Lois Lane
12. Dearest Friends

 

 

artist: OCEAN/CONIFER
title: split
catalog #: IMPREC144
upc: 793447513621
release date: APRIL 24, 2007
format: LP

This split 12” release is limited to 1000 copies and pressed on rust and grey color vinyl. It is packaged in a screen printed mylar jacket with a screen printed mylar insert and a screen printed paper insert. Cover artwork is of a 19th century statue located at the center of Portland Maine, the dramatic coastal home of both groups. This is the sound of a musical brotherhood entirely unique to Ocean & Conifer.

Over the years Ocean and Conifer have shared vans, stages, members, practice spaces, apartments, beers, a city and a kindred musical spirit. In a lot of ways it's a shock that that split hasn't happened already but perhaps it was so obvious that nobody noticed that it needed to happen. Sometimes the truth is right beneath your nose.
With their original drummer back in the line-up, since Eric Brackett left to focus his energy on Ocean, Conifer has re-enlisted their original drummer Nate Nadeau. With Nate back in the group they're heavier, tighter and more united than ever before. They've toured and player with Mono, Black Dice, High On Fire, Asva, Mouth Of The Architect and many more. Summer of 2006 saw them embark on an ambitious 26 city tour.
Ocean's 20 minute epic was recorded in the same sessions that birthed their next album, currently untitled, for Important. Containing all of the epic minimalist intensity and robust heaviness that has gained them international attention, The Undoing is a whole new level.

 

 

 

artist: ASA IRONS & SWAAN MILLER
title: Asa Irons & Swaan Miller
catalog #: IMPREC143
upc: 793447514321
release date: April 24, 2007
format: CD

This record is forever. After listending to it you'll realise that it doesn't matter that Asa Irons plays in Witch with J Mascis as well as the acclaimed folk outfit Feathers. This record needs no associations and it's songs are so timeless that they feel as if they've been passed around for generations and hardly need any recording medium at all. This is the first release from Asa Irons and Swann Miller but it sounds like they've lived within each others voices for a million years. Asa's deep-breath-voice lays down a mossy hill for Swann's beautiful voice to tread upon. His guitar work is simply intricate and his fingerpicking perfectly suits the way their voices combine to become one. This record always has been and always will be. This record is forever.
“After spending years in New Hampshire and often Nova Scotia, I began writing songs about my Northeastern window through which I view the world. Most of the pieces represent strong fundamentals in my life such as living without comfort resources like electricity and running water, the building trends of carpentry and masonry with which I make my living, and the slow paced rural life in which I grew up. The land of Northeastern North America is very important to me and compelled me to describe it in the form of music. Many people in my life were musicians - my father, cousins, friends - so I had plenty of good examples to pull from and think about. My style of song writing, I believe, comes from the influence of these loved ones combined with certain deep-rooted melodies or images from books that have stuck with me. (Such as sound tracks of old cinema and authors like Tolstoy and Carolyn
Chute.)
My older sister's art work has also had a tremendous effect on the way I see the world. Many of her primary subjects revolve around various representations of our own home place and the people who inhabited this and
the other woods houses in which we grew up. One of the people connected to me through music and lifestyle is Swann Miller. She is the daughter of a man who was a good friend of my father's. Through the '70's our fathers built houses together around N.H. and also played a lot of music. So, I have known Swann my whole life and perhaps it was inevitable that we made music together. When I reached her house in the winter of 2003, I had just had my notebook of songs stolen along with other things. I decided to try to catalogue all I could remember by practicing them. Swann practiced with me. On a whim, her boyfriend - who works as a sound engineer - recorded the two of us singing in an abandoned yellow women's bathroom in the basement of the building where they lived. It all took about an hour and a half including set up of mics, recording, and
breaking down. I borrowed a twenty year old Guild guitar from a friend of a friend which was very similar to my father's guitar that I grew up with. I am so happy to have had the opportunity to help capture Swann's beautiful voice and continue the music of our families.
The album is a quick glimpse of a world view from Southern New Hampshire through the voices of two old friends whose fathers were friends before them.” Asa Irons

artist: SMEGMA
title: 33 1/3
catalog #: IMPREC145
upc: 793447513720
release date: April 24, 2007
format: CD

33 1/3 is Smegma's tribute to their 20th century avant-garde and out-jazz influences. The title is one part reference to the happy revival of passionate vinyl listening in the 21st century and one part celebration of their long hard slog of 33 1/3 years of being one of the most free thinking and original American underground groups. Their focus, ideas and determination has brought them through more than three decades and to this day they remain unparalleled, original and highly influential. 33 1/3 is enhanced with live videos of Happy Holidays live at End Times Festival (with Spencer Yeh and Twig Harper) as well as Grubsteak live at the Three Million Tongues festival in Chicago.
Smegma. Seriously. They've been at it for so long now that you can't really even say they sound like anyone else. You can only say that others sound like them. They're all here on 33 1/3: Oblivia, Ju Suk Reet Meate, Burned Mind, Conroy, Dr. Id. The core group drumming up their influences and pulling off another burning album of magnificent proportions. .
While Smegma has never really fit in anywhere their influence on the modern avant garde and improvised noise scene is absolutely undeniable. However, it's essential to remember that Smegma has never been noise for noise's sake. While they've had two feet firmly planted in avant-garde & free jazz one must not forget their rock roots as well. For this reason alone they're bound to not fit in anywhere. Influences aside, not matter how much everyone else sounds like Smegma, you can bet that Smegma is always going to sound like nobody else. Nobody else channels so much energy, effort, influence or sound into their work. They may just be the greatest American band. Ever. 

artist: SMEGMA
title: 33 1/3
catalog #: IMPREC145
upc: 793447514529
release date: April 24, 2007
format: LP

This vinyl edition of 33 1/3 is limited to 1000 copies on black, red, red/black split and red & black splatter vinyl. Includes a bonus track only available on the vinyl version.
33 1/3 is Smegma's tribute to their 20th century avant-garde and out-jazz influences. The title is one part reference to the happy revival of passionate vinyl listening in the 21st century and one part celebration of their long hard slog of 33 1/3 years of being one of the most free thinking and original American underground groups. Their focus, ideas and determination has brought them through more than three decades and to this day they remain unparalleled, original and highly influential. 33 1/3 is enhanced with live videos of Happy Holidays live at End Times Festival (with Spencer Yeh and Twig Harper) as well as Grubsteak live at the Three Million Tongues festival in Chicago.
Smegma. Seriously. They've been at it for so long now that you can't really even say they sound like anyone else. You can only say that others sound like them. They're all here on 33 1/3: Oblivia, Ju Suk Reet Meate, Burned Mind, Conroy, Dr. Id. The core group drumming up their influences and pulling off another burning album of magnificent proportions. .
While Smegma has never really fit in anywhere their influence on the modern avant garde and improvised noise scene is absolutely undeniable. However, it's essential to remember that Smegma has never been noise for noise's sake. While they've had two feet firmly planted in avant-garde & free jazz one must not forget their rock roots as well. For this reason alone they're bound to not fit in anywhere. Influences aside, not matter how much everyone else sounds like Smegma, you can bet that Smegma is always going to sound like nobody else. Nobody else channels so much energy, effort, influence or sound into their work. They may just be the greatest American band. Ever.

 

artist: MERZBOW & CARLOS GIFFONI
title: Synth Destruction
catalog #: IMPREC131
upc: 793447513126
release date: April 24, 2007
format: CD

Over 60 minutes of total analog destruction by noise king Merzbow and Brooklyn noise boss Carlos Giffoni, This live collaboration was recorded during Giffoni's Synth Destruction Japan Tour in September of 2006. This is Sound Totalism and is as heavy as it comes: totally brutal, totally ugly, totally beautiful, totally intense, totally classic, totally analog, total synth and total destruction.
Intense artwork by Jenny Akita.
Author, activist, painter and sound artist Masami Akita had been at the foreground of experimental music for over 25 years. Inspired by psychedelic rock, free jazz, early electronic composition as well the physical arts, especialy Kurt Schwitters' Merzbau, Masami Akita has created a musical language all his own.
Carlos Giffoni, despite his young age, has been an in-demand Brooklyn collaborator for many years. He has worked with Jim O'Rourke, Thurston Moore, Nels Cline, Chris Corsano, Fe-Mail and many others. In 2005 he releases his first solo record titled Welcome Home on Important Records.
This is Merzbow and Giffoni's first collaborative release.

 

 

artist: PAULINE OLIVEROS
title: Accordion & Voice
catalog #: IMPREC140
upc: 793447514024
release date: April 24, 2007
format: CD

Pauline Oliveros (b. 1930) is an accordionist and composer who currently resides in Kingston, New York. Her instrument is tuned in Just Intonation and she often includes it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations.

A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.

“Accordion and Voice was the first of my recordings as a soloist. I was living in an A-frame house in a meadow just below Mount Tremper at Zen Mountain Center. I had a wonderful view of the graceful saddle mountain top. When away on a performance trip I would imagine the mountain as I played Rattlesnake Mountain. I followed the feelings and sensations of my many experiences of the mountain - the changing colors of the season, the breezes and winds blowing through the grasses and trees.
Horse Sings From Cloud taught me to listen to the depth of a tone and to have patience. Rather than initiating musical impulses of motion, melody and harmony I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space.
My thanks to Important Music for bringing these pieces to be heard again.” - Pauline Oliveros 2007

 

artist: PAULINE OLIVEROS
title: The Wanderer
catalog #: IMPREC141
upc: 793447514143
release date: April 24, 2007
format: CD

The Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and 3/8. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures.
The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussion, with Pauline Oliveros as soloist, Sam Falcetti conducting.
Horse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion & Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.”
This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneion are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.

 

Our newest in our free compilation series is up. It is called Silber on Silber & features 29 artists covering songs by artists on the Silber roster. Did we mention it is free?

A new QRD (issue #32) is up. We have a lot going on this issue. As some of you may know, I was in a car crash a few months ago & I have been talking to a lot of people about it & so I have a ton of car crash stories from semi-famous folks like Alan Sparhawk, James Newman, Nathan Amundson, Will Dodson, & myself. Nathan Amundson contributes a few more times for a Rivulets interview & an appearance in I Heart FX & a piece he co-wrote with me on Gifts for Touring Musicians. We have two short stories from long time contributor Paticia Russo called Bound and Loose & See and Say. A nice little short short from Tara Vanflower called She Was a Doll. I guess the big surprise interview this issue is David Galas, who last appeared in QRD #1 as a member of Lycia. We have an interview with our buddy Jamie Barnes who will hopefully interview his dad for us in June. There is an interview with Max Soren of The Goslings. Finally finishing up we have two more installments of I Heart FX from Martin Newman (Plumerai) & Shane DeLeon Sauers (Rollerball). So a big issue. & hopefully there will be more soon. I'm shooting for another one in two months.

A new Lost Kisses (#4) is up. Or watch it on YouTube It's a comic/slow-cartoon about watching the news & finding out an ex-girlfriend is dead.

THREE NEW RELEASES FROM COLD SPRING

Wholesale / Trades welcome. Please email This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

Tarentel's predominantly instrumental compositions read like chapters of an epic novel – vast and absolutely breathtaking. Tarentel's tidal force and blissful elegance elicit the kind of ecstatic response their name suggests. This album is being released as a series of 4 limited 12" LPs, each between 30 and 40 minutes...The  series of 4 LPs comprised of studio and home recordings from September '04 to April '05, Ghetto Beats On The Surface Of The Sun isn't your grandma's Tarentel. It will eat your face, make you shake your ass - ass-shaking trashcan style, but with a healthy dose of psychedelic fever and blast off moon landing thrown in for good measure. Take your medicine!

Imagine if Miles Davis, Sepultura and Karlheinz Stockhausen had the opportunity to work their magic on the phenomenon of Drum’n’Bass.  It could well have sounded like “Compressor” by TERMINAL SOUND SYSTEM.

artist: Andrew Pekler
title: Cue
catalog#: krank109
formats available: CD
CD UPC code: 7 96441 81092 5
release date: may 21, 2007

content: From Andrew Pekler: Typically, library music albums were not available to the general public but were marketed directly to film, tv and commercial production companies. Judging by the information provided on the record sleeves, these consumers of library music were assumed to have little interest in the identities of the individuals who actually wrote and played the music, the musicians´ names often being relegated to the very small print. Instead, it appears that the functional aspects of the product were of foremost importance; the persistently generic names of the tracks and their descriptions, durations and suggestions for their usage are the ubiquitous features of library album packaging.  At the same time,  the name of the production studio itself is given the kind of front cover top-billing usually reserved for a performer or composer (or to brand names on boxes of corn flakes).
    A picture emerges of near-anonymous composers, musicians and arrangers going to work 9 to 5, producing music according to functional-aesthetic guidelines for a never to be seen customer, further removed than even the session players at Motown or Studio One ever were from the glamour of pop or the pretense of individual artistry. This sort of faceless assembly line production runs counter to the conventional (western) practice of connecting creative works with individuals deemed to be their authors.
    On the other hand, this apparent anonymity and subordination to quasi-utilitarian determinants does have its own liberating potential. Freed of the obligations of personal expression, one can simply work with the material at hand, concentrating on discrete aesthetic objectives without being unduly concerned for the overall "meaning" of the work. To paraphrase John Cage, the artist is free to have nothing to say and to say it.
    With this in mind Andrew Pekler conceived and produced Cue. Starting from short expository phrases setting forth a track's instrumentation, mood and development (reproduced on the back cover), Pekler attempted to construct pieces to fit these specific criteria. During the process of assembly a track would more often than not evolve beyond its prescribed limits (in these cases, the descriptive blurbs have been updated to reflect the changes). This "dog walking man" method turned out to be a fertile middle ground between the micro-managed jazz miniatures of Nocturnes, False Dawns & Breakdowns (2004) and the expansive improvisations of Strings + Feedback (2005) and may help to explain why Cue sounds very little like its predecessors. On the whole it is a vibrant, playful album with the occasional somber passage providing some contrast to the predominantly ebullient tone. Piano and analog synthesizer sounds abound while percussion (when used) is typically reduced to a minimum of tom toms, bells and unidentified noises. Feedback can be heard in almost every track but taking on more subtle textural roles, guitars get the occasional spotlight and men are wearing pastels again this spring.
    It should be noted that Cue is not an attempt to re-create, re-imagine or re-contextualize  library music of past eras. It is not a post-modern exercise in citation, juxtaposition or collage. The attempt to re-create the "style" of library music would be pointless anyway as the music found on library records does not adhere to any distinct stylistic or aesthetic formula. Instead, library music can be defined by the formal constraints pertaining to its mode of production and it is the appropriation and application of these same constraints that have enabled and inspired Andrew Pekler to produce the music for this album.

context: Andrew Pekler has previous releases on Scape and Staubgold, is one third of the Kosmischer Pitch live band, and is part of an as yet unnamed project with Jan Jelenik and Hanno Leichtmann.

track listing: 1. On  2. Roomsound  3. Pensive Boogie  4. Steady State  5. Rockslide  6. Dust Mite
7. Vertical Gardens  8. Dim Star  9. Contact  10. Mote 11. Floating Tone

quote: "...rich, strange and occasionally opressive; chamber music from a chamber that couldn't exist. Lovely." BBC Experimental

ph: 773.539.6270  email: This email address is being protected from spambots. You need JavaScript enabled to view it.  web: www.kranky.net

artist: Strategy
title: Future Rock
catalog #: krank108
formats available: CD   
upc ode: 7 96441 81082 6
release date: May 21, 2007

content: Three years have passed since Drumsolo's Delight, and Strategy finally comes forward with a new full-length. His third album to date, Future Rock focuses Strategy's diverse interests into a single point, while still drawing directly from the dense, shimmering sonic language established on Delight.
 
Based on a refined studio process that incorporates multi-tracked live instrumentation, archaic synthesizer equipment, archived recordings of improvisations and band practices, digital sound design, and sound of non-musical origin, the album is a polyglot solution of genres. Musical quotations, discrete sonic jokes, and skewed musicological impressions are blended into a dream-like, impressionistic musical composite which confounds and compounds music's past, present, and future. A gauzy, vibrating curtain of sound, much like the one that made Drumsolo's so distinctive, ties together all the songs as do the signature Wurlitzer electric piano and old-school spring reverb.

Incorporating compositions that have taken years to develop, a handful of close collaborators (including his cohorts from the band Nudge), and using source material that dates as far back as 2000, Future Rock is easily Strategy's most complex, narrative, ambitious and overtly "pop" record to date; as well, it's practically a thesis statement for his vision of a genre-free musical world. To date you've heard Strategy dabble in everything from headphone-oriented ambient music to house and dub; this is the work that brings it all together.

context: This is Paul Dickow's second full length for kranky and third as Strategy. He is extremely busy running the Community Library label, which will be releasing a 12" version of this album's title track, while also collaborating in the trio Nudge, and recording and performing solo work.
track listing: 1. Can't Roll Back  2. Future Rock  3. Running On Empty  4. Windswept (Interlude) 5. Stops Spinning  6. Phantom Powered  7. Sunfall (Interlude)  8. Red Screen  9. I Have To Do This Thing (Fantastic Planet Mix)

quotes:

'...the unexpected musical aphrodesiac of the year.'  mundane sound

"...as much a delight as it is a cipher.'  all music guide

"humid deep-dub-house-punk-disco jams."  boomkat

 

ANTHOLOGY RECORDINGS ANNOUNCES NEW RELEASES
Baby Grandmothers, Bedemon, Wizz Jones, White Flame, Fresh Maggots, D.R.
Hooker, 1,000 Mexicans & Thai Beat A Go-Go Vol.1 OUT NOW
Also announces alliance with New York's OTHER MUSIC
Rare And Out-Of-Print Recordings Available Via Download


Anthology Recordings has announced eight new digital only releases, which will be available for download as of March 5th - Bedemon's "Child Of Darkness" (Doom legends and Pentagram side project circa 1973), Baby Grandmothers "s/t"(short lived and ultra rare Swedish Psych compiled by Dungen's Reine Fiske), Wizz Jones, "The Legendary Me" (1970 set from this Folk legend), White Flame (unreleased 1978 private pressing filled with stooges/Iggy weirdness), Fresh Maggots "...Hatched" (1971 'acid folk' cult classic), 1,000 Mexicans "Music While You Work" (Rare Post-Punk/New Wave circa 1983), Thai Beat A Go-Go Vol.1 (Incredible & ultra rare recordings from Thailand in the 60's) & D.R. Hooker (Psych private pressing from Connecticut).All releases can be accessed at www.anthologyrecordings.com and downloaded as a full album or as single tracks along with the album's original artwork.

Additionally, Anthology has announced that select titles will made available through Other Music's (New York's finest Indie retailer) digital store. Though still in the works, the store has plans of launching within the next month or so.

Future Releases will include the Lucifer Rising soundtrack (Score to Kenneth Anger's cult film by Bobby Beausoleil with the Freedom Orchestra), a collaboration with Finland's legendary Love Records, Night Sun (Acid Rock classic from Germany), Scientists (Australia's Dirgy Noise/Punk legends), a digital NWOBHM 7" series (including Witchfynde, Paralex, Bashful Alley, 100% Proof and others), a series of Hip Hop release (they're coming, we promise!!) and much more. The site will continuously add new music.

The label was founded in January 2006 by Keith Abrahamsson, who is also A&R for NYC based Indie label Kemado Records and has signed acts like The Sword, Dungen, Lansing-Dreiden and Danava (among others) and recently put together the label's Invaders compilation. With the demand for digital music mounting, Abrahamsson was struck by the lack of obscure titles available on high volume retailers - a wrong Anthology is determined to right by allowing fans of less-mainstream music the access they've been missing. Anthology will also serve and function as a regular reissue label, promoting and marketing each release.

Anthology Recordings is not intended to be the antidote to crate digging, but a resource for music fanatics who would otherwise not hear these rare titles. Making the music available digitally is an affordable option for both the label and the consumer.