home | revolver usa home | midheaven mailorder | the communion label | downloads | news | new releases | new release archive | tour dates | faq/links | our cats | privacy | contact | sitemap | |
 
Updated 1/17/03 Release dates [among other things] subject to change. Our mailorder pages feature all the titles below-- and more-- sorted by release date at the following links:
11/4/02,
11/11/02,
11/18/02 and
12/2/02.
Our October 2002 new release page can be found here.
 SMOKEY AND MIHOTempo de Amor (Afro Sambas 002) CD Released the week of November 11th, 2002 order from Midheaven mailorder Since 1999, singer Miho Hatori has been the more visible of the two Cibo Matto ladies, providing guest vocals for several of Dan the Automator's projects, most notably Gorillaz. She achieves real beauty when delving into Brazilian idioms with guitarist Smokey Hormel; inspired by the 1966 album Os Afro Sambas, Smokey and Miho decided to tackle the songs of Brazilian great Baden Powell. Along with Jon Birdsong (trumpet), Don Falzone (upright bass), Ganda (vocals), Mauro Refosco (percussion), and Joey Waronker (drums), the duo transform pleasant bossa-nova shuffles with Smokey's off-kilter, slightly distorted guitar, highlighted by Birdsong's muted trumpet burbling through. Vocally, Miho sounds better than she has on either Cibo Matto album, far more confident in her voice, and delivering relaxed and bright performances. Miho has also sung with the Beastie Boys, Handsome Boy Modeling School, Medeski Martin & Wood, and John Zorn. Most recently she was featured on the worldwide hit "19-2000" and four other songs by the Gorillaz. Guitarist Smokey Hormel played on Tom Waits' Mule Variations, numerous albums by Beck and Johnny Cash, and has scored films for director David Lynch.
30-second RealAudio excerpts: Tempo de Amor Released the week of November 11th, 2002 order from Midheaven mailorder
As one of the original members of the Massmen family, Awol One has developed his sweet style and sing-song delivery alongside the talents of Freestyle Fellowship, The Shapeshifters, and Abstract Tribe Unique. After many projects through other producers (Massive, Mike Nardone and Daddy Kev), Awol One teams up with Fatjack, his crew member and music producer of 15 years. Although they have released numerous songs together on compilations and other releases, this is their first project mano a mano. Propaganda starts off in nightmarish fashion with an eerie loop from Fatjack, mixed with an electronic scratch from DJ Roach that has a grunge feel. Awol One's "Theory of Evolution" lyrics lend the perfect B-movie feel to the track. Other highlights include the project's first single "Trilobites," and the album's most accomplished track "The Eye In Team." Rounding out the album is a return to '80s glam with "???????????????," a rock anthem that will have you wondering if Awol is working the stand-up circuit in between albums. Both CD and vinyl include the "stoner-friendly" instrumental version
One of Los Angeles's most honest MCs
--Max Sidman, synthesis.net
30-second RealAudio excerpts: Who Loves Propaganda Released the week of November 4th, 2002 order from Midheaven mailorder
Black Dice formed during the spring of 1997 in Providence, Rhode Island, as a loud, chaotic mix of early-'80s-inspired thrash and harsh noise experimentation. Early shows seldom lasted more than 15 minutes and were characterized by violent performances where injuries were often sustained by Bjorn Copeland (guitar), Hisham Bharoocha (drums), Eric Copeland (vocals), Sebastian Blanck (bass), and the audience alike. Live sets mixed structured songs with improvised sound manipulation and shows differed from night to night.
In the summer of 1998 the band relocated to NYC; at an early New York performance, the band met Aaron Warren, who later replaced Sebastian. Around this time the emphasis shifted from conventional song structures to more open-ended sonic investigations. Black Dice maintained an equally physical presence through the use of high volume levels and an extreme range of frequencies, though injuries became less frequent. The music bore more resemblance to crude, first-generation industrial music or contemporary power electronics than straight noise or hardcore. Importantly, many of the changes in sound were related to the use of outdated electronics and unconventional instrumentation.
By the fall of 2001 live shows had grown to almost five or six times the length of earlier sets, with the occasional song reaching 45 minutes. The unorthodox instrumentation continued to evolve, and an emphasis on signal processing provided a broader range of sounds to work with. While volume and physical presence of sound remained crucial, melody and repetition became key elements that songs were composed upon. The shift in focus introduced a new gentle and tuneful quality to the intense, brash music. Currently, the music retains elements of noise and proto-industrial experimentation, while organically suggesting minimal, ambient electronic, and psychedelic ideas, as well as those of tropicalia and dub. Black Dice is now the organized presentation of improvised sound, assembled into deliberate structures based on visual concepts.
The band has toured America four times. Houses and warehouses have served as venues as often as clubs, though currently the band's desire for high fidelity sound demands a superior PA system than what such alternative spaces generally provide. However, placing the music in a context contrary to the average show remains a compelling inspiration for unique performances.
30-second RealAudio excerpts:
Released the week of December 2nd, 2002 order from Midheaven mailorder
This is Mush's first seven-inch release. It features two tracks by emcees Busdriver (Project Blowed) and Radioinactive (Wescoast Workforce). Side A, "Touch Type," was produced by Paris, and Side B, "Winthorp & Winthorp," by Daddy Kev. This is the perfect introduction to the Busdriver/ Radioinactive combination (as The Weather). They will also team up to release a full-length release in early 2003 which is produced entirely by Daedelus of Plug Research. Both "Touch Type" and "Winthorp & Winthorp" feature the machine gun vocal stylings that originated in Los Angeles. The release is a limited run of 1,000 copies.
Released the week of November 18th, 2002 order from Midheaven mailorder
Morbid dance music. Inspired as much by Titicut Follies as Black Sabbath, this is the death of disco (or metal - same thing, anyway). Crack: W.A.R. presents six tracks of haunted carnivals, socially retarded cabaret and the loneliness of being lost at sea. Drum machines and synths, sure, but Crack: W.A.R. is a band; innocence up front and something a little more impish in the back. King Riff, Obscuratron, Le Kim and L'Erin all create a cacophonous din of electro-smash complemented by L'Erin and Le Kim's schoolyard taunt vocals. Their sold-out self-released debut 12-inch split with Ann Arbor's Wolf Eyes gave only a slight indication of the misery to come. Silent Fantasy is their first release for Tigerbeat6 and fits in well with the work of the other inmates. Next time someone decides to take over the teen center or burn down the local theater, Crack:W.A.R. will be off to the side taking notes. Death Disco? Electro-chaos? Punktronica? Sure, call it whatever you want. Nobody is listening to you anyway.
30-second RealAudio excerpts: Released the week of November 4th, 2002 order from Midheaven mailorder
From the mind and decks of the mysterious DJ Broken Window-- an unnamed longtime American IDM legend known for his plunderphonics who also releases electro on labels from the UK, Europe and the USA-- come pop song mash-ups that go far down the path forged by Evolution Control Committee and the early '80s dancefloor-pop-oriented Slingshot 12-inches. These are not lo-fi, chopped up, lobotomized collages of MP3s, but incredibly well researched, selectively re-layered entire songs - vocals and instrumentals - from tracks pulled from the rare and clean vinyl in Broken Window's ridiculous and massive record collection.
Unbelievably smooth tunings and compositional alignments are in effect as Broken Window finds entire instrumentals and a cappella songs that fit together. In other words, every verse and chorus line up because the songs have exactly the same structure - to freaky and hilarious effect, not to mention seeming like uncannily legit collaborations by artists who are generations, genres, and continents apart. For example: R&B vox over late '60s moog classics; Miami rap over obscure Canadian synth-pop; '60s garage-psych over '90s Detroit electro; Tahitian islanders sing and chant with techno lock grooves; children sing over commercial hip hop club tunes; IDM meets prog-rockers-gone-pop.
Beyond this, there are numerous conceptual links connecting the elements Broken Window chooses for his mash-ups. He truly raises the bar on the whole art of making boots. Avant-musicology inside jokes aside, Parallel Universe Vol.1 keeps on course toward the real checkered flag - pop music for dancing at your next house party.
30-second RealAudio excerpts: Hair, Nails, Percolator
Released the week of November 4th, 2002 order from Midheaven mailorder "The Fall's second album, recorded over a period of three days during August 1979... full of the sort of angular atonality and shouty obstreperousness that The Fall's music was packed full of back then (and, to be fair, is not exactly bereft of these days), best demonstrated on classics like "Psykick Dancehall" and the lurching "Muzorewi's Daughter." Like just about nothing else on Earth..." --The Past Archives
A dark experimental recording, with strange tempos and a wide range of influences. Smith's lyrics are full of outrageous rhymes and complex images reeking of hatred, injustice and fear. At the time NME called the band "influential, arrogant, accurately hypercritical of rock apathy."
Released the week of November 18th, 2002 order from Midheaven mailorder "An immediate Fall album; cosmetically impressive, even on first spin, it grabs your lapels and itches your feet. Inevitably, as you gently open your ears to its host of subtexts, you'll find the specifics equally as satisfying. Mark's suffering was obviously worth it. Three different producers-- Coldcut, Adrian Sherwood and Craig Leon." --NME
When Brix divorced Mark E. Smith and left the Fall in 1989, it marked a shift back to the darker, more chaotic (though "boldly dance-oriented") sound of their early albums, as shown on this first post-Brix album from 1990.
Released the week of December 2nd, 2002 order from Midheaven mailorder "A move away from supposed overproduction ... that went into Hex Enduction Hour.... To differentiate this one from those before it, Mark E. Smith forced players to sit out the recordings of certain tracks and kinda had the others go at it without telling them what the songs were supposed to do.... As a result, a few of these tracks seem disturbingly directionless.... No problem-- the songs are still great. They're tighter, less abstract, and more traditionally one-drum-kit-sounding than the Hex tunes, and sort of (in a way) more accessible." --markprindle.com
Released the week of December 2nd, 2002 order from Midheaven mailorder Compilation of singles dating from 1990 to 1992.
Released the week of November 18th, 2002 order from Midheaven mailorder "During 1978, Mark E. Smith replaced The Fall's bassist with Marc Riley and the keyboardist with Yvonne Pawlett because they wanted to make the Fall more accessible. The new lineup recorded the band's first full-length album, Live at the Witch Trials, which was released in 1979." --Stephen Thomas Erlewine, All Music Guide
This classic album ... firmly placed The Fall at the screaming edge of rock. Eleven songs, recorded in one or two takes, that contain elements of what were to be many of The Fall's recurring themes: realism, surrealism and paranoia. The band describe Live at the Witch Trials as "head music with energy."
Released the week of November 18th, 2002 order from Midheaven mailorder
Working from Dorothy Geller's assured finger-picked and plucked nylon-string guitar, and James Wolf's elegant violin lines, From Quagmire explores a kind of hushed, terse chamber song that is so unlike anything else it's hard to draw comparisons. V2G2's unorthodox interruptions of sawing bowed guitar, free-"jazz" drumming, and other unlikely audio splatter is the wild card that keeps things from getting too austere. Usually it's totally beside the point, but it's worth mentioning that unlike most underground folk/outsider weirdness, the music here is superbly recorded in close-up detail.
The Tropic of Barren [presents] slowly unfolding songs that are full of mystery and suspense. "Suite of Windmill and Sycamore" open things with raw and bluesy guitar work played as if every note would be the last one ever played. In the distance a drone starts building up and unorthodox percussion jumps in and out of the speakers.... Dorothy Geller [known, along with From Quagmire violinist James Wolf, for work with chamber rock ensemble Laconic Chamber] plays the nylon string guitar throughout the whole record and it's truly spectacular in the sadly flowing "Suite of Atoms and Media." This drifts right into the aptly titled "Fragment of Watching," which veers off into a slightly more experimental neighborhood, but the nylon guitar just keeps on floating in profoundly sad sound structures as if nothing would have happened. On all six of The Tropic of Barren's tracks, there's space for every tone to breathe and every instrument to speak, resulting in a detailed sonic conversation that'll keep you going well into the endless night. --Mats Gustafsson, Broken Face
30-second RealAudio excerpts: Viennese II Released the week of November 18th, 2002
order from Midheaven mailorder The question about The Guided by Voices Box is always, "Is it different than the original?" Yes and no. It contains the same music, still contains five discs, and has pretty much the same art on the slipcase. The art has been redone out of necessity, but any visual changes are minor. Nothing from the original pressing has been lost, aside from poor-quality upside-down scans. The biggest change is a switch from five digipaks to three jewel boxes.
Box compiles the first four Guided By Voices albums, namely Devil Between My Toes, Sandbox, Self Inflicted Aerial Nostalgia, and Same Place the Fly Got Smashed. Each is different in character, but all are quite recognizably GBV. They were originally released on vinyl only on various invented record labels in pressings of 300 to 1000 copies.
Box also includes a fifth disc, King Shit and the Golden Boys, material on which is an equal division of the best Bee Thousand outtakes and the best tracks from the lost "shit-canned" albums Back to Saturn X and Learning to Hunt.
Released the week of November 4th, 2002 order from Midheaven mailorder
Loud, noisy, aggressive rock'n'roll - this is what The Hunches are all about and they deliver it in spades. Hailing from Portland, Oregon, and averaging 20 years of age, The Hunches have a knowledge of rock'n'roll's heritage that betrays their youth. They draw on all the classic influences one would expect from any great rock'n'roll band (e.g. Stones, Saints, Captain Beefheart, Dolls, Stooges, Cramps, '60s punk, '70s punk, blues, etc.), and handle it with irreverent abrasiveness. The result is totally their own. Pure nastiness filtered through rock'n'roll romanticism. "Got Some Hate" is a dose of unadulterated punk rock bile. "The Ballad" is pure heartfelt slow-dance groove. Their cover of The Electric Eels' "Accident" is total, fuzzed-out noise (literally; there are three separate vacuum cleaners overdubbed on this song, one which is inhaling screws).
Their live shows are the things of legend - they tear shit up with reckless abandon. This is what it was all about in the first place. This is exactly how it should be done. This is raw rock bliss. This is the debut from The Hunches.
30-second RealAudio excerpts: Murdering Train Track Blues
Released the week of November 4th, 2002 order from Midheaven mailorder Mastered by Guy at The Exchange is a diverse collection of energetic songs for voice, keyboards, guitar, assorted instruments and a combination of real, programmed and electronically manipulated percussion. This last, highly diverting ingredient has misled many a lazy ear into assuming that Ben Jacobs, the brain and now voice behind Max Tundra, is primarily an electronic artist. While tracks such as "Fuerte" and "Acorns" demonstrate his formidable skill as a programmer, his work is characterized by subtlety, a relaxed manner, and sounds employed among a broad range of instrumentation. His dazzling eclecticism, attention to detail, and limitless musical resources are tempered by restraint and good judgement. The introduction of vocals for the first time does nothing to tame his restless and expansive sense of development, and while the deceptive commercial radio sheen of brassy opener "Merman" or "Lysine" (the first single) may at least suggest the lightness and immediacy of accessible pop, the irregular, sung sections of "Cabasa," "Pocket" and "MBGATE" draw attention to Max Tundra's unconventional nature. Computer-generated material forms only one element of the music, and Jacobs applies the care and cool detachment of the programmer to every element of this constantly surprising record. The roles of electronic wizard and multi-instrumentalist are combined in a way that enables them to rid each other of their more hideous connotations. The immaculate vocals delivered by Ben and his sister Becky, combined with the charming wit and sincerity of songs such as his hilariously compressed employment history "Lights" will attract listeners unaccustomed to the rewarding complexities of this ambitious and adventurous brain-pop.
30-second RealAudio excerpts: Merman Released the week of November 4th, 2002
order from Midheaven mailorder This hotly anticipated debut album from Detroit, Michigan's The Piranhas delivers on the promise of the band's two seven-inch singles and twelve-inch single released on the Tom Perkins and Rock n' Roll Blitzkrieg labels. These early releases have garnered rave reviews and helped land them on the cover of Maximum Rock'n'Roll. Their chaotic live shows have earned them a reputation as one of the few truly primal and dangerous bands around. Their music is a violent head-on collision between art-skronk abstraction and raw punk savagery. Like a mutant cross between Hearpen-era Pere Ubu and Damaged-era Black Flag, with a dose of mid-'70s Cleveland punk poured over the top for good measure. Yet they still sound like nothing else you've heard before.
The Piranhas fucking destroy. The Piranhas may be the best band of this era. Art damage punk that is so brutal and primordial that it's unbelievable. They make me want to pull my intestines out and chop on them! They make me want to drill through my own hand! I AM NOT FUCKING KIDDING!!! I totally lose my shit over these guys. If you haven't heard any of their shit you have no idea what you're talking about when it comes to modern punk. Fuck!!! Fuck!!! Shit!!! DESTROY YOURSELF!!! GET FUCKING PRIMAL!!! --Horizontal Action
30-second RealAudio excerpts: Bitches Wheel
Released the week of October 28th, 2002 order from Midheaven mailorder
The Warlocks have been making a name for themselves for several years with their own brand of psychedelic rock - a swirling grind that conjures the Velvet Underground, The Stooges, Spaceman 3, Neu!, Can, and early Pink Floyd. They deliver the sounds and sights from their powerful, hallucinatory world that these synthetic times need and would do well not to ignore. At the vortex of The Warlocks's cross-fire hurricane - two drummers, four guitarists, bass and keyboards - is guitarist / bassist / lead vocalist Bobby Hecksher. He writes all of the band's songs, which range from fourteen-minute gotterdammerung assaults to pastoral acoustic-strummed meditations; from amazing pop songs to addictive guitar mayhem that anchors the trip. Hecksher was in the Brain Jonestown Massacre for a while, a few years ago, and also played on Beck's Stereo Pathetic Soul Manure album, so you know he's not just blowing smoke up your ass.
They've toured the US extensively and released two fine EPs on the Bomp label, but Phoenix is by far their finest work to date. This EP collects two songs from the full length album (upcoming in September or October 2002) - "Baby Blue" and "Stone Hearts," as well as a number of otherwise unreleased trance-inducing jams and sonic psychedelic wonders. The eight-track CDEP clocks in at over an hour.
30-second RealAudio excerpts: Shake the Dope Out
Released the week of November 18th, 2002 order from Midheaven mailorder
The second collaboration between these two stalwart titans of the true UK underground comes eight years after their first pairing on the Site/Realm LP. The title no doubt a nod to the odd resemblance of seven-year-old Rosalie Bower's cover art to another LP of the same title, this Relayer throws out the live methodology of the earlier LP for a dense set of layered studio recordings. Like the music of Matthew Bower's Sunroof! group, the tracks are rainbows of colors and textures with string drone, percussion, bleeps, and the unidentifiable, competing in a mix devoid of the traditional "lead with backing" schema. Many tracks have the kind of welcoming electronic bed seldom heard since the demise of Harmonia, with ring-modulated fuzz bleeping away over a chugging, but non-oppressive beat. Elsewhere, there's Richard Youngs' Riley-style organ ping-pong, a little virtuoso Kalimba, thick wads of analog synth... you know where this is going. So tightly edited and accessible that this would be the perfect summer top-down CD, but what with it being released in November, you'll have to keep it safe until the thaw. Or cruise Australia for Thanksgiving.
30-second RealAudio excerpts: Eagle Like a Fly Released the week of November 18th, 2002
order from Midheaven mailorder Over 60 minutes of roots and blues tracks by Victoria Spivey and Lonnie Johnson, Lord Buckley, Howlin Wolf, Tommy McLennan, Minnie Wallace and the Memphis Jug Band, Louis Armstrong, Cab Calloway, Noah Lewis' Jug Band, The Bosstones, Robert Pete Williams, Blind Willie Johnson, Al Simmons and the Cats From Fresno. The rest of the album contains rare Captain Beefheart recordings.
Subtitled: The Roots of Captain Beefheart-- a selection of tracks that helped mold the avant garde sounds of Captain Beefheart including some from the man himself
30-second RealAudio excerpts: Intro Released the week of November 18th, 2002
order from Midheaven mailorder To commemorate its first label tour of the United States and Canada (over 40 dates in 45 days), Tigerbeat6 presents a full-length compilation of all new and exclusive tracks by the artists on the tour. That's two or three tracks tracks each from Numbers, Cex, and Stars As Eyes, all of whom who are doing the entire tour, and one track each from other Tigerbeat6 artists playing at least once along the way. Expect thrills and chills from Cex's folky, Neptunes-type song and a track that can only be described as "industrial IDM hiphop." Numbers' official Tigerbeat6 tour anthem "Go To Show" proclaims repeatedly how one must go to every show. Stars As Eyes truly impress with a full-on guitar-vocals-and-laptop cover of Jessamine's "Cellophane," as well as a grand and sweeping new instrumental. Also included are the sweet and tuneful electronica of Nudge, Electric Company, and Nathan Michel, and the absolutely twisted, mind-numbing, beat-infused electronics of Knifehandchop, Uprock and Zeigenbock Kopf.
30-second RealAudio excerpts: Numbers - "Go to Show" |
Click the titles below for details on specific new releases.
November/December 2002
AWOL ONE AND FATJACK
BLACK DICE
BUSDRIVERS AND RADIOINACTIVE AS THE WEATHER
CRACK:W.A.R. (WE ARE ROCK)
THE FALL
THE FALL
THE FALL
THE FALL
THE FALL
FROM QUAGMIRE
GUIDED BY VOICES
HUNCHES
MAX TUNDRA
PIRANHAS
SMOKEY AND MIHO
WARLOCKS VARIOUS ARTISTS
VARIOUS ARTISTS
October 2002 new releases
Coming "soon":
dates subject to change
BOOM BIP
THE FALL
sole
MAIN
BUTTHOLE SURFERS
ANDRE AFRAM ASMAR
COM.A
ELECTRIC COMPANY
NUMBERS
NUMBERS
SAGE FRANCIS
SOLACE
THE AISLERS SET
MICKEY BAKER
BREAST FED YAK
BUSDRIVER, RADIOINACTIVE, and DAEDELUS
DAVIS REDFORD TRIAD
PATRICK PARK
DWAYNE SODAHBERK
ANGELS OF LIGHT
BLACK TWIG PICKERS
THE BUG VS ROOTSMAN FEAT. DADDY FREDDY / DJ RUPTURE
CLONE DEFECTS
COM.A
CLUE TO KALO
GRESHAM
THE RED THREAD
The releases above and on the left (as well as over 17,000 other
independent-label and import titles) can be purchased online at Midheaven Mailorder.
Revolver USA Distribution's umbrella shelters an extended and charmingly
dysfunctional family of manufactured / distributed labels. Most of these companies
handle their own publicity and promotion, some have their own websites,
and most have bustling, nearly-organized mailorder operations of their own.
Our exclusive label roster appears below in the form of links to our Midheaven mailorder database. We carry many, many other labels on a non-exclusive basis.
REVOLVER USA EXCLUSIVE LABELS and their merchandise can be browsed by clicking the links below: AMMP
Are you the buyer for an established retail store that is currently purchasing direct from Revolver USA? Would you like electronic access to our wholesale catalog, where you can browse our inventory and submit online orders directly
to your Revolver salescuckold? Can do. Email us and type the words "B2B Fetishist" in the subject line. We'll do the rest.
Likewise, if you're a U.S. or overseas store, distributor, or online music fullfillment service, and would like to deal with Revolver USA on a wholesale basis, email us. We don't bite. Much.
Only complete dunderheads don't scam MP3s, right? We've now made it very easy for non-dunderheads to access downloadable files under the Midheaven domain. Simple visit our Downloads Browsing Kiosk for a list all our titles featuring MP3, RealAudio and RealVideo files.
Also consider paying a visit to our Midheaven
Jukebox. RealAudio-enabled users can hear over 1500
30-second song excerpts from releases by hundreds of artists, all
randomly arranged for our visitors who rely upon dependable
unpredictability from their RealAudio experience.
Want the inside track on developments at Revolver USA, Midheaven
mailorder and the Communion label? Me too. But we'll both have to
settle for midheaven.com's News page.
If you have a Frequently Asked Question you'd like to pose, check out
our FAQ first. We may
have an answer all prepared for you. Our exclusive label list can be
found there (and below), as well.
Occasionally bands affilliated with Revolver USA and its exclusive labels perform live. No, it's true. You can be in the same room with
these bands, but it involves leaving the house (life is full of
trade-offs, isn't it?). Keep up with Revolver USA-associated artists' in-the-flesh forays
by visiting our tour dates
page.
Where can you find detailed webpages regarding the Communion label's
most recent releases? On the Communion label
homepage, claro que si. There you can browse every existing
release on the Communion label, listen to RealAudio samples,
download free MP3s, and zero in on recent (and otherwise) gorgeousness by
Ben Kunin,
The Tower Recordings,
Thinking Fellers Union Local 282,
Village of Savoonga,
Alles Wie Gross,
Idyll Swords, Mia
Doi Todd and Barbara Manning. And don't forget to drop in on those Folk
Implosion pages.
We have also set aside very special pages for other very special releases:
Bananafish 16 (new!)
|
AWOL ONE & FATJACK
BLACK DICE
BUS DRIVER AND RADIOINACTIVE AS THE WEATHER
Crack: WAR (We Are Rock)
DJ BROKEN WINDOW
THE FALL
THE FALL
THE FALL
FROM QUAGMIRE
GUIDED BY VOICES
HUNCHES
MAX TUNDRA
PIRANHAS
WARLOCKS
YOUNGSBOWER
VARIOUS ARTISTS
VARIOUS ARTISTS
| home | revolver usa home | midheaven mailorder | the communion label | downloads | news | new releases | new release archive | tour dates | faq/links | our cats | privacy | contact | sitemap |