: Our second (technically our second and third) reissue of The Servants. The Servants were pioneers in the jangle pop movement in England and were featured on the classic C86 compilation. The Servants featured members who went on to play in Jesus and Mary Chain, Lush, Biff Band Pow, and Primal Scream. For fans of jangle pop everywhere!
The Luna Long Players Box Set gathers the band's five albums from the 90's as well as a compilation of demos and B-sides recorded contemporaneously. They are all housed in a beautiful textured canvas box. Accompanying the records is a 12" x 12" book featuring archival imagery, an interview with Dean Wareham conducted by Noah Baumbach, and an oral history with the band and their producers. As the majority of these records were never released on vinyl outside of limited pressings, this is a boon to longtime fans and new listeners alike.
This is a collection of previously unreleased songs from founding member of the legendary lo-fi band The Cleaners From Venus, Martin Newell, before, during and after his time with the band (1967-1985). Newell collected these songs from the forgotten nooks and crannies of his colorful musical background. This record is the first release from the band containing new songs from the time, since they disbanded in 1986. Liner notes unveil a personal glimpse into each song, written by Newell himself.
As the finishing piece to the “Vol. 2” batch of formerly cassette-only releases from The Cleaners From Venus, the band’s cult continues to grow as a new generation discovers this influential band. This release comes off of critical claim from the first three records from the band, “Vol. 1,” released in spring of 2011.
Captured Tracks is pleased to present the Stockholm Monsters full catalogue in this special vinyl only reissue. Formed in Manchester in 1980, Stockholm Monsters were signed with Factory Records in 1981. Discovered at a show in Manchester when the band was still teens, New Order's Peter Hook took the young band under his wing and went on to produce the majority of the band's catalogue, under the alias Be Music. Their first single, "Fairy Tales", didn't appear until 1982, due to the tardiness of the songs producer Martin Hannett. Drawing early praise from influential music magazine's NME and Melody Maker, along with touring with New Order, the band seemed set for success. However through numerous line-up changes, delays in recording and the onslaught of bands such as the Happy Mondays the band never quite hit their mark.
During their time with the Factory Records, Stockholm Monsters released one LP (Alma Mater) and a series of 7"s and singles including a scathing take down of Factory's primary indie label rival, entitled "How Corrupt is Rough Trade". Available in a limited run, this complete collection gives new light to one of Factory's lost artists.
Widowspeak has grown up in a lot of ways. The band's third album, All Yours, is one that could only come from Molly Hamilton and Robert Earl Thomas: a honed and elegant interweaving of dream-pop and slowcore rock and roll, easygoing melodies and dusty, snaking guitars. It's also their finest release to date: ten beautiful songs that are refreshingly straightforward yet built from the same well-chosen and deftly used tools the band has always worked with.
There are a million songs dressed in white t-shirts and American denim, songs that drift through open spaces in some busted sedan, over lost highways that become tributaries to eventual static, crawling traffic and stifling density. There are a million more songs about being wild and green in the cities and outside them: a song about love for every person on this earth. Another Age, the debut album from Robert Earl Thomas, avoids inhabiting these cliches even as it embraces their personal influence: this is an album about small moments with big emotional footprints, told humbly and honestly. Thomas is not new to making records. A founding member of Brooklyn-based indie outfit â€ªWidowspeakâ€¬, he's previously lent his talents as a lead guitarist to that band as well as the experimental pop group Vensaire. He began writing and home-recording songs two years ago, gradually and purposefully in moments of solitude between tours, between stints working in a Seattle woodshop and at a hotel in the Catskills, and during weeks couch-surfing back and forth across Brooklyn. For Another Age, Thomas combined these intricately layered demos with tracks from a two-week studio session in the winter of 2016 at Marcata Recording in New Paltz, NY with producer Kevin McMahon (Swans, Real Estate, Widowspeak). â€¬ It's a debut that plays the part without succumbing to it, more pastel romantic comedy than sepia historic drama. There are stylistic nods to Springsteen and â€ªDire Straitsâ€¬, â€ªArthur Russellâ€¬'s more folk-leaning output, the various collaborations of â€ªTom Pettyâ€¬ & â€ªJeff Lynneâ€¬. But Thomas seems intent on conveying his specific take on these things over emulating them; you get the impression that he's just as inspired by karaoke renditions of "I'm On Fire" or "Romeo and Juliet" as he is by the originals. And the stories he tells are full of intimate moments and observations: a walk home from a lover's apartment, a long night drive back upstate, a quiet â€ªWednesday morningâ€¬ existential crisis; musings as to the significance of a Winona Ryder portrait on the wall of a stranger's bedroom; the sense of discovery that comes with being young in a city with a new person, and the sense of loss when that novelty is gone. Another Age is indoor music at its most expansive, rock and roll held at arm's length. â€¬â€¬â€¬â€¬â€¬
Like the days of Steely Dan or Harry Nilsson releasing a classic album every year (or less) comes Mac DeMarco's Another One, a Mini-LP announced one year after the release of the meteorically successful Salad Days. Written and recorded during the downtime between a relentless touring schedule, Another One is an eight-track release that expands the arsenal of Mac's already impressive catalog, showing the maturity of Mac's progression as songwriter: it's a bit more refined, a bit more sophisticated, but nonetheless retains the guts and soul of classic Mac.
Despite working at the same pace as artists like Creedence and The Rolling Stones, coupled with an equally unending schedule of touring and press, it's odd that Mac is labeled as a slacker. With two full-lengths and two EPs released and hundreds of sold out shows performed in the last several years, a recent late night television debut on Conan following a special performance on The Eric Andre Show, it seems, as Mac nears his 25th birthday, there's not a slack bone in the man's body. Great songwriters don't need to reinvent themselves; they just need to keep going and let the songs out in the world. Thus, here's Another One.
As If Apart, the long-awaited sequel to Chris Cohen's 2012 soft psych garden of unearthly alter-pop earworms and studio-sonic delights Overgrown Path, follows on its predecessor with another bittersweet ensemble of dreamy, complex songs. Pushing the idiosyncrasies of Cohen's melodic and rhythmic approach into even more fractured, shifting spaces, As if Apart unsettles lazy pop conventions, upending jaded heads and hearts with an expansive, moody psychedelia. Where Overgrown Path plunged within, As if Apart voyages out. And up.
Axxa/Abraxas is the music and art project of Ben Asbury, a 23 year old from outside Atlanta, GA. His experiences as a record collector and music obsessive from a very young age are easily evident in his debut release. Going full circle from being introduced to 60's pop as a kid, through his foray into punk rock at an early age, into post-rock and Elephant Six indie, right back into 60's Psychedelia, Ben has honed his influences (Neil Young, Television Personalities), into a cohesive blend to adapt his own take on psych-influenced art-pop.The label enlisted Jarvis Taveniere (Woods) to record and produce what would become Axxa/Abraxas debut. It's the artistic culmination of prodigious young songwriter putting it all together in an erudite way despite his tendency to write lyrics which are "...generally directed at myself, often criticizing my shortcomings..." No matter how he criticizes himself, one need only listen to the record to see he's quite confident in his music.
Before there was The Cleaners from Venus, prolific singer-songwriter and national treasure of Wivenhoe, England, Martin Newell was in a band called The Stray Trolleys. In 1980, he and a few youngish unknowns got together in a little home-built country studio and recorded a handful of songs for an album that eventually emerged on a DIY cassette, Barricades and Angels. They weren't perfect, but there is something very special about this collection. The music captures a time. Just listen.
The project of Shaun Kilfoyle, Minks' moody take on indie pop initially drew comparisons to the Cure, New Order, and My Bloody Valentine. Little was known about the group until the April 2010 release of their first single, "Funeral Song". That summer, the band returned with second single "Ophelia", revealing a softer side to Minks' music. Live shows with Veronica Falls and labelmates Cosmetics and Blank Dogs increased buzz around the band, culminating with the release of Minks' debut album, By the Hedge, in January 2011. With their debut, MINKS showcased the ability to make listeners feel an eternal autumn. Kilfoyle's ability to capture the raincoat grey Boston mornings of his youth make you feel like you are listening to a dream, only you're awake and standing in the pouring rain. Put on your raincoat and enjoy the splendor.
It wouldn't be entirely accurate to say that EZTV met while trying out for J. Spaceman's latest US touring line-up of Spiritualized, but it's not far from the truth. Songwriter Ezra Tenenbaum had been casually working on solo home recordings in the vein of Shoes, Emitt Rhodes and Cleaners For Venus, and, in a desire to round things out, he enlisted bassist Shane O'Connell and drummer Michael Stasiak (formerly of Widowspeak). As it happened, the trio's first chance to play together was an audition for the American touring version of Spiritualized (they didn't get the job). But, the trio kept meeting and working, turning Ezra recording as a solo artist into Ezra, Shane and Michael playing as a band; thus, EZTV was formed.
With Jarvis Taveniere (Woods) onboard to produce, the band headed to Thump Studios in Brooklyn to record their debut LP. The result is Calling Out, a cohesive 12-song statement in the long tradition of fully realized debuts, stripped of artifice, but full of hooks and songwriting chops. With one foot firmly planted in classic American power-pop and college rock while the other utilizes more left-of-the-dial sonic experimentation, the result is a sound that's both familiar and new, but always about the songs.
Channeling the feeling of youth on the fringe, Chastity focuses on the earnest connections found amongst the pent up suburban blue-collar. Living in Whitby Ontario, Brandon Williams creates music in a space of urgency, melody and chaos - an artifact of youth culture that bridges isolation and collectivity. Chastity is a protean temperament in punk, in recent history sharing the stage with Priests and Fucked Up, the project carries in the ethic of solidarity, antagonistic to the status quo.
Chris Cohen’s songs initially sound easy. They’re each tiny jewels that unfurl at a leisurely pace, but dig a little deeper and you’ll reach a melancholy core. His previous two albums - 2012’s Overgrown Path, and 2016’s As If Apart - were built from lush, blurry tracks that embedded themselves in your subconscious, like they’d always been there. Chris Cohen, his third solo album, is a thoughtful, accomplished meditation on life and family, backed by dusky instrumentation influenced by the late evening beauty of Pat Metheny’s Falcon and the Snowman soundtrack, and Thomas Dolby’s Golden Age of Wireless. It’s beautiful, but it’s also unflinching in its depiction of emotional turmoil.
Mastered by Bernie Grundman and written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years with the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, it is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with Overgrown Path.
The Outsiders, hailing from Wimbledon, England, were one of the many bands to rise up through the UK is punk explosion of the late 70s. Citing the Velvet Underground as their primary influence, The Outsiders were fronted by Adrian Borland, who went on to form the seminal post-punk band The Sound following the demise of the band. Gaining exposure through opening for acts such as The Jam and The Vibrators. Bob Lawrence (bass) and Adrian Janes (aka Jan, drums) rounded out the band.
The Outsiders were the first UK punk band to self-release a full album (their first LP Calling on Youth), on their own Raw Edge label. With Close Up, the band matured and further developed into the punk sound that was clearly a gateway to Borland's work with The Sound. The band were clearly influenced by the Detroit rock sound of The Stooges and were even joined on stage by Iggy Pop himself for their rendition of 'Raw Power'. Long out of print on vinyl, this reissue provides a great look into not only the development of the legendary Adrian Borland, but also a look into the transitional phase of UK rock from classic to punk.
This release includes diary entries from the diary of Phil King (Lush, Jesus & Mary Chain, Primal Scream, The Servants) written during The Outsiders' active years as a band, and includes memories of attending their shows, buying instruments from Adrian Borland and the original art from his diaries.
Available on vinyl only in a run of 1,000.
Originally shared on DIIV's YouTube channel and then later given away on a limited edition cassette run of 50 copies at an acoustic DIIV show in a synagogue in New York City, Captured Tracks now presents a vinyl version of Zachary Cole Smith's lauded Sparklehorse and (Sandy) Alex G covers.Pressed on Clear Vinyl and limited to 500 copies to celebrate Captured Tracks' 10th Anniversary.
Free/discounted sampler to celebrate 5 years of Captured Tracks
Dada - conceived first as a dream, then manifested into reality as instruments and voices recorded onto magnetic tape - is the newest sonic artifact by the group known as B Boys. Over the course of the album, the 13 songs explore connections between language, self-awareness, introspection and unconventional serenity. A nod to the collective unconscious by way of personal reflection. Experiential wisdom filtered through a tin of mints and a fresh pair of chinos.
Chastity is a world of its own from the mind of Brandon Williams. Reflecting the working class background of Whitby, Ontario, Chastity's songs are charged with the ethos of archetypal youth on the fringe. A project more aptly characterized by its intentions than specific sound or medium, Chastity stands to confront the struggles of those existing in the unseen, often silenced periphery. It is an artifact of youth culture constantly working to form community, bridging isolation with collectivity.
Visuals play a meaningful role in this world with Williams using his penchant for crafting consistently sharp, challenging imagery to personalize the narratives running throughout all of Chastity's work - most discernibly, a call for the disruption of harmful status quo.
Releasing Friday the 13th of July, 2018, Death Lust follows the plot of suffering to survival. The album begins on a tortured note with 'Come' and builds toward the plummeting finale of 'Chains', evolving from start to finish in a crescendo of severity. Chastity explains, "Death Lust is about growing up death obsessed. It's about the pain that it takes but the capacity that we have to overcome."
Luis Vasquez never intended for The Soft Moon to reach the public's ears; for him, music has always been about self-actualization rather than self-aggrandizement. Nevertheless, the bleak, hushed sounds he created years ago in his small Oakland apartment bubbled to the surface and 2010 saw his debut LP, The Soft Moon, released on Captured Tracks rise to critical acclaim. Pitchfork's 8.1 review stated that Vasquez made "oblivion seems likean enticing prospect" and, indeed, listeners were immediately drawn into his murky musical wasteland, swathed in the moody atmospheres of jagged dark wave and wayfaring postpunk. For them, and for Vasquez, there was no turning back. The Total Decay EP and Zeros emerged soon after, and now Vasquez returns with The Soft Moon's most introspective and focused album to date: Deeper.
With eerie, immersive tracks like the dogged "Far" and slow, beautifully melancholic "Wasting", the album is a penetrating portrait of Vasquez as he wrestles thoughts of suicide, vulnerability and what it means to heal. Deeper may have delivered Vasquez back to the waking world, but it willingly drags us further into The Soft Moon's dark, euphonic universe once more.