Past Releases

Control Freaks "She’s The Bomb (Slovenly)"

Crank it up to eleven and push those other records down the stairs, because this is the time for the spunky, punky She’s The Bomb (Slovenly) from The Control Freaks. Featuring Greg Lowery of The Rip Offs and Supercharger (among others), this is pop punk for those that know that doesn’t mean Blink 182. The Control Freaks beat up Blink 182, and they are thankful for the attention-and they know they deserve it. This is snotty punk with an ear for melody, occasional hooks, and more bad attitude than kids shopping for back to school supplies in the middle of August. Check out the title track “She’s The Bomb.”

Gino And The Goons "Rip It Up (Slovenly)"

2017’s Rip It Up (Slovenly), the garage rock masterpiece by real deal rockers Gino and the Goons, went out of print almost immediately upon its release and has since been sought after by collectors. Well, collectors, now is your chance! Rip It Up is back in print thanks to our pals at Slovenly Records! Overmodulated, nasty guitars mixed with surprisingly poppy melodies and scream-along choruses a-plenty. So make room on your denim jacket for at least one more badge and check out the absolute Stooges-esque earworm “Watch You Shine.”

Russian Circles "Blood Year (Sargent House)"

The majestic, angular, post-rock masters Russian Circles are back with what might be the best album of their storied career. I know, right? But Blood Year (Sargent House) is everything you want it to be. Mysterious, heavy, melodic, dramatic, full of riffs and builds and Bill Riffs, who is this guy I know that teaches an intro to guitar class at the local rec center. Ok, so maybe I made that last part up (i’ll never tell!) but I didn’t make any of the other stuff at all. Mere moments into the face-melting post-rock that is “Arluck” and you’re gonna wish you hadn’t canceled on Mr. Riffs’ class last week, so give it a listen!

Cross Record "Cross Record (Ba Da Bing!)"

The third full-length from Cross Record (self-titled) is a meditative, unnerving, gorgeous mystery of an album. It commands your attention, yet it spends most of its time just out of reach-lying in the space between… hmmm. Here’s the part where I wrote myself into a corner by trying to compare Emily Cross’ music here with someone else’s, and I’m coming up blank. It’s so singular and nuanced, you really need to hear this one to believe it (thanks for the advice Ripley’s Believe It Or Not). The closest I can get is… I dunno… Sade covering Radiohead? Does that make sense? Check out “Y/o Dragon” and let me know it if does.