Goner Records To Reissue Australia's COSMIC PSYCHOS:
Down On The Farm (1985)
Cosmic Psychos (1987)
Go The Hack (1989)

COSMIC PSYCHOS
Sometime in the winter of 1989/90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of 60s garage and psychedelic music, as well as a strong selection of classic punk rock, and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos then-new album GO THE HACK. “She’s a lost cause / she’s a lost lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long straight outback road on a Harley. This was my introduction to the Cosmic Psychos and I was hooked.

I loved that a band could be so powerful and sound so big and unapologetically simple, and incorporate so much of what I loved about music - well, basically the attitudes and sounds of the Stooges and Ramones, setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah wah and manly disregard for cleverness or adornment. AND THEY CALLED THEMSELVES THE COSMIC PSYCHOS! They obviously had no regard for “makin’ it” in those days when an alternative rock band at least had a chance to sell some records. I was an instant fan.

Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best- farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow, “I love my tractor!”?  Answer: NONE! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And couldn’t care less.

The Psychos enjoyed a long run through the 80s and 90s on such Australian labels as What Goes On, Mr Spaceman, Survival, and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases feel as timeless and necessary as ever, still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght Records to once again bring these platters of primal perfection into a world that definitely needs them. As Ross yells in Go The Hack’s “Back In Town,”

“We’re B.I.T.! BACK IN TOWN!”   

Indeed.

- Eric Friedl / Goner Records

Watch the trailer for 'Blokes You Can Trust': http://www.cosmicpsychos.com.au/

Formats / Release Info
Down On The Farm 12” ep: http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=16&products_id=11614
Cosmic Psychos: http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=16&products_id=11616
Go The Hack: http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=16&products_id=11615

Down On The Farm + Cosmic Psychos CD**:
http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=16&products_id=11552
Go The Hack CD: http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=16&products_id=11553

Cosmic Psychos "Lost Cause" // 'Go The Hack' Out Now On Goner/Aarght Records

EX-CULT - MIDNIGHT PASSENGER - APRIL 29th

Ex-Cult’s Midnight Passenger is the result of a never ending obsession with the open road. It’s the sound of five people spending the last year in countless dive bars, disgusting motel rooms and on dozens of dirty floors. Since recording with Ty Segall in 2012 the band hasn’t come up for air, putting four US tours and tons of weekend trips under their belt with the likes of OBN III’s, Captive and Ty Segall.

It was in these dive bars across the USA that Ex-Cult truly found their sound. While some of the songs were played for audiences as early as January of 2013, it wasn’t until a West Coast tour in June that the blue print for Midnight Passenger really started to take form. Taking pieces of every tour back home with them, the band began to hone a sound that captured the desperation of the first record, while being careful to integrate new techniques of negative noise.

Recorded by Doug Easley in January of 2014, Midnight Passenger is comprised of ten songs that were meant to be heard together, each one following a different, damaged storyline. The buzz-saw guitars, kraut rock rhythm section and sneering vocals are all still present, but with Midnight Passenger, Ex-Cult has added a few layers of psychedelic slime to their sound.

Side A
Shattered Circle
Ties You Up
Midnight Passenger
Confusion Hill
Catholic Entries

Side B
Flickering Eyes
Venice Illusion
Sid Visions
Not A Threat
Lights Out Club

GONER ON FACEBOOK
www.facebook.com/pages/Goner-Records/73295355242
ONLINE STORE
www.goner-records.com/
FOLLOW US
www.goner-records.tumblr.com/

EX-CULT ON FACEBOOK
www.facebook.com/pages/EX-CULT/115500865243350
EX-CULT MERCH
www.excult.bigcartel.com/


Ex-Cult "Shattered Circle" // 'Midnight Passenger' Out Now On Goner Records

Gee Tee
Goodnight Neanderthal
181 GONE

Based in Sydney, Australia and lead by the iconic Kel Mason, this band of maniacal rock n roll miscreants has been blowing drooly-punk minds for the past few years with a rash of out-of-print records and ridiculous videos that have bounced around the proper channels of the internet underbelly. A white hot set on the web-only Gonerfest 17 was greeted with cheers of joy, and ultimately re-issued as a cassette and LP. They made it over in full three-dimensional form for Gonerfest 19 and a completely unhinged US tour in 2022. Now Goner is proud to unleash their new album -- Goodnight Neanderthal -- ten blasts of the spazzy lo-fi attack you know and love, full of buzzy guitars, cheap synths and earworm hooks that demand to be sung in the shower. Or in your car. Or on your bike. Gee Tee rules. Get on board or get out of the way. 

Goodnight Neanderthal is available January 24, 2023 for pre-order. It comes out March 3, 2023 on Urge (Australia) and Goner (rest of the world).

Goodnight Neanderthal

Gee Tee - Stuck Down

EX-CULT - MIDNIGHT PASSENGER - APRIL 29, 2014

Ex-Cult’s Midnight Passenger is the result of a never ending obsession with the open road. It’s the sound of five people spending the last year in countless dive bars, disgusting motel rooms and on dozens of dirty floors. Since recording with Ty Segall in 2012 the band hasn’t come up for air, putting four US tours and tons of weekend trips under their belt with the likes of OBN III’s, Captive and Ty Segall.

It was in these dive bars across the USA that Ex-Cult truly found their sound. While some of the songs were played for audiences as early as January of 2013, it wasn’t until a West Coast tour in June that the blue print for Midnight Passenger really started to take form. Taking pieces of every tour back home with them, the band began to hone a sound that captured the desperation of the first record, while being careful to integrate new techniques of negative noise.

Recorded by Doug Easley in January of 2014, Midnight Passenger is comprised of ten songs that were meant to be heard together, each one following a different, damaged storyline. The buzz-saw guitars, kraut rock rhythm section and sneering vocals are all still present, but with Midnight Passenger, Ex-Cult has added a few layers of psychedelic slime to their sound.

Side A
Shattered Circle
Ties You Up
Midnight Passenger
Confusion Hill
Catholic Entries

Side B
Flickering Eyes
Venice Illusion
Sid Visions
Not A Threat
Lights Out Club

GONER ON FACEBOOK
www.facebook.com/pages/Goner-Records/73295355242
ONLINE STORE
www.goner-records.com
FOLLOW US
www.goner-records.tumblr.com

EX-CULT ON FACEBOOK
www.facebook.com/pages/EX-CULT/115500865243350
EX-CULT MERCH
www.excult.bigcartel.com


Ex-Cult "Not A Threat" // 'Midnight Passenger' Out Now On Goner Records

"Ties You Up" B/W "New Virtues" 7" (Record Store Day release)
Available April 19, 2014 via Goner Records (Revolver)

The single was recorded in Los Angeles, CA by Ty Segall at his house in Glassell Park. "Ties You Up" is featured on the new Ex-Cult album Midnight Passenger (out April 29th), but this version features Zumi Rosow of the K-Holes on saxophone. The songs were recorded in one afternoon, before Ty drove to Santa Monica to play with his band Fuzz. Ty Segall + Ex-Cult = Psychedelic Brutality.

Limited RED vinyl available only at Goner Records on RSD.
One-time pressing of 800 copies.

MIDNIGHT PASSENGER out April 29, 2014

GONER ON FACEBOOK
www.facebook.com/pages/Goner-Records/73295355242
ONLINE STORE
www.goner-records.com
FOLLOW US
www.goner-records.tumblr.com

EX-CULT ON FACEBOOK
www.facebook.com/pages/EX-CULT/115500865243350
EX-CULT MERCH
www.excult.bigcartel.com

Ex-Cult "Ties You Up" // RSD Exclusive - Recorded by Ty Segall - Goner Records (Sold Out)

183 GONE
Ibex Clone
All Channels Clear

Imagine a world apart from our own—an agrarian utopia where the corroded cables of the 20th century lie in moss-covered heaps and the Mississippi River runs clear. New structures rise from the detritus, gnarled patchworks of the natural world and everything else humanity left behind. This is a world where Nirvana and NAFTA never happened, punk didn’t break but bloomed, and guitars jangle in the breeze. This is the world of Ibex Clone and their new album, All Channels Clear. 

Formed by members of essential bands from the modern era of Memphis rock and roll, Ibex Clone reconfigures the paranoiac punk of Ex-Cult, NOTS and Hash Redactor into something altogether different, a vision of music from a timeline that split with ours a long time ago. Guitarist George Williford’s dizzy six- and twelve-string explorations form a lush thicket for Alec McIntyre’s fluid basslines to slip in and around, anchored by Meredith Lones’ steady, driving rhythms. Williford’s powerful vocal melodies ward off impending death and decay with visionary lyrics about humanity’s place in the ecosystem, the balm of love and friendship, and the complex feeling of being alive in this version of the world of tomorrow.

With All Channels Clear, Ibex Clone develops the woozy, folk-tinged post-punk of their excellent debut From Nowhere into a catchy, complex approach to the pastoral power pop of XTC, the Meat Puppets, and Guided By Voices. These ten beautiful tracks tunnel back through the shredded remains of folk, pop, blues and psychedelia to rediscover the real, the human, and the good in this world. Listen close and you’ll hear the ramshackle chime of Big Star, the fingerstyle melodicism of John Fahey and Gimmer Nicholson, and the wild experimentalism of Amon Düül II. Ibex Clone doesn’t offer an antidote or a soundtrack to a world in rapid decline, but instead a window into something much stranger and, maybe – if we can find the path – better.

All Channels Clear is out February 3, 2023 on Goner Records.

Ibex Clone - Nothing Ever Changes

promotional link to new single from C.O.F.F.I.N

Out April 20, 2023

via Goner / Bad Vibrations (UK/EU) / Damaged (AUS/NZ)

Cut You Off

C.O.F.F.I.N - Cut You Off

Ausmuteants - Order Of Operation
112GONE
Release Date: September 30, 2014

AUSMUTEANTS started life in late 2011 in Geelong by Jake Robertson and Billy Gardner. Both had been playing since teenagers in trad garage bands The Frowning Clouds (Jake) and The Living Eyes (Billy). Being good looking rebels who play by their own rules, they cracked the shits, broke loose with just a synth and drums and in early 2012, knocked out the 'Split Personalities' tape. By the time that was out they'd added Melbourne loose-unit Marc Dean on bass, and soon after, ex-Canberran hardcore non-guitarist Shaun Connor on guitar.

Their second album 'Amusements' (note: not self-titled) came from this fledgling time as a full band, with a heavy dose of the duo’s songs. Since the runaway international success of that record and playing every second weekend in Melbourne, they’re rocked-out full-tilt with all four members writing and singing new songs. 23 of these were recorded live with vocal overdubs in the basement of an old Geelong ice cream factory by Mikey Young, then mixed and mastered in his idyllic coastal abode. Again the band and their Australian label Aarght Records strained the friendship with song picks, agreeing on 13 to make up 'Order of Operation'.

This record is better than Amusements any way you cut it: songs, lyrics, delivery and sound. The album opens up with Shaun’s forehead- and thigh-slapping musical and lyrical debut, "Freedom of Information". His girlfriend is suffering the indignity with panache. From there, songs range from balls-to-the-wall punkers ("Felix Tried to Kill Himself"; "Boiling Point"), well-considered workouts ("Family Time"; "Tunnel Vision") and unguarded tenderness ("Wrong"; "Looney Bin").

It's not just the band and label singing the album’s praises; it's the people who couldn't stand their juvenile bullshit before. They’ve ditched the toilet humour, got nasty and written songs about other people’s problems, terrible bands, fighting crime and trading sex for porn. Mikey after a vocal take: “You deserve to be bashed for that” (the song’s on the record; you guess which one).

'Order of Operation' is now their defining moment. If you don't like this record, you pretty much won't ever like Ausmuteants.

Order Of Operation Tracklist
1. Freedom Of Information
2. We're Cops
3. Family Time
4. Stadiums
5. Publicity Stunts
6. Wrong
7. Felix Tried To Kill Himself
8. Tunnel Vision
9. Looney Bin
10. 1982
11. Not Whole
12. Boiling Point
13. Depersonalisation

AUSMUTEANTS ON FACEBOOK
https://www.facebook.com/ausmuteants

GONER ON FACEBOOK
www.facebook.com/pages/Goner-Records/73295355242
ONLINE STORE
www.goner-records.com
FOLLOW US
www.goner-records.tumblr.com



Ausmuteants "Freedom Of Information" // 'Order Of Operation' Out Now On Goner Records

The Exbats - Song Machine
Out Oct 13, 2023 on Goner Records

The Exbats
Song Machine
Goner Records

In a just world, Song Machine, the fifth full-length album from The Exbats, which arrives October 13 via Goner Records, would become one of the most-loved and most-listened to albums of the 2020s. With the 13-track Song Machine, the Bisbee, Arizona-based band further their analog back-to-the-future combination of the Shangri-Las and pre-Velvet Underground doo-wop wannabe Lou Reed, churning out catchy tunes laden with buoyant choruses that rank alongside the best A-sides recorded in the shadow of the Brill Building or with the Wrecking Crew in tow. The Exbats are effortless time travelers–this time, they’ve set the dial for the early 1970s, incorporating the sonic magic of the Partridge Family, Muswell Hillbillies-era Kinks, and Brian Wilson into the crux of their musical ethos.

“What I remember about that era is going to record stores and seeing a wall of 45s that somebody was tasked with moving around [in concordance with] the Billboard charts,” says Kenny McLain, who, alongside daughter Inez, is the driving force behind The Exbats. “With our band we’re kinda moving things around on that towering wall of singles, as if it were from some sort of ancient tomb, and we’re trying to crack a code and make it to number one. So, I suppose, some magic door will open. And we’ll all be free? Or something like that.”

Inez, namesake of the Monkees’ wool-capped guitarist Mike Nesmith, has played drums and sung for The Exbats since she was just 10 years old. Surveying the band’s back catalog in relation to Song Machine, she adds, “I always felt like our progression is similar to that of the Kinks–starting off garage and punk and then becoming more deliberate about everything.” 

When asked to contemplate the possibility of what comes next, fame or fortune, Kenny and Inez declare that “it’s impossible.” “We made Song Machine for kids who bought 45s from 1965 to 1975, and those people aren’t around anymore,” Kenny explains. Then, in his next breath, he marvels that “We’re really lucky. People have heard us. If Inez and I can start a band when she’s ten years old and I’m 40, anyone can. We are the unlikeliest duo in rock’n’roll, yet we’re putting out really cool little things that people enjoy across the board. I think it’s making a difference.”

13 - The Happy Castaway

12 - If I Knew

11 - Cry About Me

10 - Better At Love

09 - Food Fight

08 - You Got My Heart Hot

07 - What Can A Song Do

06 - Singalong Tonight

05 - Like It Like I Do

04 - Himbo

03 - Easy To Be Sorry

02 - To All The Mothers That I'd Like To Forgive

01 - Riding With Paul

Blind Shake "Old Lake" 
FIrst single off their upcoming Goner release 'Breakfast Of Failures' out this Fall on Goner Records. 

Blind Shake
Breakfast Of Failures
111Gone 
Release Date October 28, 2014

Dense, massive locomotive music from this Minneapolis three-piece. Powerful sounds with the ability to careen through one cinematic, post-apocalyptic chase scene after another.  Breakfast Of Failures comes clanging and crashing through these confused times. 

"The Blind Shake is at once spacey, primitive futuristic, and brutal: a kind of backyard extraterrestrial minimal surf-punk party. One guitar, one baritone guitar, a fuckload of reverb, and a drummer who deserves an Olympic medal." --SF Weekly

Fronted by brothers Jim and Mike Blaha, with friend Dave Roper on drums, the trio have been tunneling through the underground since before telephones could talk. Having six full length albums to their credit, several singles, three collaborations with psych legend Michael Yonkers and another with downstroke warrior John Reis, the band continues to push the sliding scale between catchy punk songs and pitch red noise.  

'Breakfast Of Failures' was recorded by Chris Woodhouse at The Dock in Sacramento, CA. North American tour dates to be announced soon!

www.theblindshake.com
www.goner-records.com

Blind Shake "Old Lake" // 'Breakfast Of Failures' Out Now On Goner Records

Ausmuteants - Order Of Operation
112GONE
Release Date: September 30, 2014

AUSMUTEANTS started life in late 2011 in Geelong by Jake Robertson and Billy Gardner. Both had been playing since teenagers in trad garage bands The Frowning Clouds (Jake) and The Living Eyes (Billy). Being good looking rebels who play by their own rules, they cracked the shits, broke loose with just a synth and drums and in early 2012, knocked out the 'Split Personalities' tape. By the time that was out they'd added Melbourne loose-unit Marc Dean on bass, and soon after, ex-Canberran hardcore non-guitarist Shaun Connor on guitar.

Their second album 'Amusements' (note: not self-titled) came from this fledgling time as a full band, with a heavy dose of the duo’s songs. Since the runaway international success of that record and playing every second weekend in Melbourne, they’re rocked-out full-tilt with all four members writing and singing new songs. 23 of these were recorded live with vocal overdubs in the basement of an old Geelong ice cream factory by Mikey Young, then mixed and mastered in his idyllic coastal abode. Again the band and their Australian label Aarght Records strained the friendship with song picks, agreeing on 13 to make up 'Order of Operation'.

This record is better than Amusements any way you cut it: songs, lyrics, delivery and sound. The album opens up with Shaun’s forehead- and thigh-slapping musical and lyrical debut, "Freedom of Information". His girlfriend is suffering the indignity with panache. From there, songs range from balls-to-the-wall punkers ("Felix Tried to Kill Himself"; "Boiling Point"), well-considered workouts ("Family Time"; "Tunnel Vision") and unguarded tenderness ("Wrong"; "Looney Bin").

It's not just the band and label singing the album’s praises; it's the people who couldn't stand their juvenile bullshit before. They’ve ditched the toilet humour, got nasty and written songs about other people’s problems, terrible bands, fighting crime and trading sex for porn. Mikey after a vocal take: “You deserve to be bashed for that” (the song’s on the record; you guess which one).

'Order of Operation' is now their defining moment. If you don't like this record, you pretty much won't ever like Ausmuteants.

Order Of Operation Tracklist
1. Freedom Of Information
2. We're Cops
3. Family Time
4. Stadiums
5. Publicity Stunts
6. Wrong
7. Felix Tried To Kill Himself
8. Tunnel Vision
9. Looney Bin
10. 1982
11. Not Whole
12. Boiling Point
13. Depersonalisation

AUSMUTEANTS ON FACEBOOK
www.facebook.com/ausmuteants

GONER ON FACEBOOK
www.facebook.com/pages/Goner-Records/73295355242
ONLINE STORE
www.goner-records.com
FOLLOW US
www.goner-records.tumblr.com

Ausmuteants "Boiling Point" // 'Order Of Operation' Out Now On Goner Records

Nots
We Are Nots
114 GONE
November 11th, 2014

Over the past three years, Nots has been writing, recording and playing in Memphis, Tennessee. A longtime collaboration between Natalie Hoffmann (guitar) and Charlotte Watson (drums), Nots has evolved into it's wildest incarnation yet. Featuring Madison Farmer on bass and Alexandra Eastburn on synthesizer, Nots follow up their first two singles on Goner Records with their guitar-driven, synth-laden debut LP "We are Nots." Recorded in the summer of 2014 in Memphis by Doug Easley, "We Are Nots" is OUT now on Goner Records.

"There's a constant post mortem + excavation of the Memphis music underground by vultures of both the Euro and American varieties. Bands form, toil and scheme, mutate, play and record only to wither away in the seemingly unrelenting wall of indifference. Plod ahead a few years, label x or label z discovers + excavates the musical rubble as much for autocratic as historic purposes. A gold star and a box of records to the winner.

Nix the assertion Nots are a side project, a spin off, a revival of some fashionable subset of your record collection. Evolving headstrong their white noise is without compromise or concession. Brass venom yelled atop a torrent of twisted guitar shards, so human, barbed and unruly. Obliterate the retroactive retreat NOTS are NOW." -- John Hoppe

www.facebook.com/memphisnots
www.nots.bigcartel.com

GONER ON FACEBOOK
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ONLINE STORE
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Nots "Reactor" // 'We Are Nots' Out Now On Goner Records

118GONE
Reatards 'Grown Up Fucked Up'
Release Date: August 21st, 2015
Preorder: http://tiny.cc/reatards

Shortly after the release of Teenage Hate, the debut album from the Reatards, an 18-year-old Jay Reatard started working on a new album. He was spitting out punk rock anthems a mile a minute at this point, so a new record made sense. And what else was there to do? He’d quit school a couple years back so a normal day for Jay meant he was bumming around midtown Memphis winding people up.  At this point, Eric Friedl had introduced Jay to Meghan Smith, via mail or phone or something. And they became fast friends. Smith and Blake Wright ran Empty Records out of Seattle, and the label made plans to release Grown Up Fucked Up. After a complete mess of a European tour with the Persuaders, Jay came back and recorded the album with some help from his girlfriend at the time (and future Lost Sounds bandmate) Alicja Trout. It soon became clear that there was a harder edge to everything. While Teenage Hate had been nasty, it was rooted in the Crypt / Oblivians scene of scuzzy rock, with covers of Fear, but also Buddy Holly, Grown Up Fucked Up was a power pogo into Killed By Death-style punk rock. The songs jumped off the record and grabbed you by the throat. They were passionate, ridiculous and utterly authentic. It wasn’t too long afterwards that he put out the equally amazing “Your So Lewd” single (now included on the album as well). Like everything Jay did, he did it his way. His recordings hold up because they are completely unique. He created a scene full of imitations, but no one duplicated him. Goner wanted to make sure they stayed true to Jay’s aesthetic with the repress, so they didn’t mess with it much. Smith sent over the original DAT recordings and the record was sourced directly from them. Kyle Johnson at Rocket Science Audio handled the transfer, and Jason Ward mastered to vinyl. Doug Easley took care of the digital mastering. The record was pressed at Memphis Record Pressing. Man, Jay would have loved that so much of this happened in Memphis. 

Goner is proud to put it out there again: Grown Up Fucked Up by the Reatards.

GONER ON FACEBOOK
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Preorder

Reatards "Blew My Mind" // 'Grown Up F*cked Up' Out Aug. 21st On Goner Records

Ty Segall 'Ty Rex' LP/CD
105GONE
Release Date: November 27th, 2015

The pseudonymous “Ty-Rex” corner of Ty Segall’s oeuvre represents the nom-de-rock behind which Segall puts his spin on favored Tyrannosaurus Rex & T. Rex compositions. On November 27th (2015), Goner Records presents the release of the Ty-Rex full-length. After some time in out-of-print monetary nether-regions, this album compiles six-song Ty Rex EP (aka Ty Rex 1) originally released by Goner as a limited edition 12” for Record Store Day 2011 with the RSD 2013 two-song Ty Rex 2 7”. As if this wasn’t enough of a corrective gesture, Ty-Rex is expanded to include a previously-unreleased T. Rex cover as a bonus, but first… 

For those who missed out on this nook of Segall’s rapidly-growing footprint across the rock landscape, here is a cursory rundown: The compilation showcases a nice balance between T. Rex’s ’67 – ’70 psych-folk incarnation under the name Tyrannosaurus Rex and the better known pioneering and perfecting of glam-rock that defined the first ’71 – 73 era under the shortened T. Rex moniker. Kicking things off is the thick, woozily-rocking interpretation of “Fist Heart Mighty Dawn Dart”; one of two covers pulled from Tyrannosaurus Rex’s fourth and best album, 1970’s A Beard of Stars. Ty then double-dips into the consummate T. Rex (and for that matter, the entire glam-rock movement) achievement, The Slider, with a rendition of “Buick MacKane” followed by an excellent dirtying-up of the title track. Clearly digging deep with the ear and understanding of a super-fan, next up is Ty’s awesome tackling of “Woodland Rock”-an Electric Warriorouttake that also surfaced on the B-side to 1971’s non-album “Hot Love” single. Returning to Tyrannosaurus Rex fare for the two tracks that originally concluded the Ty-Rex 1 EP, we have “Salamanda Palaganda” from 1968’s Prophets, Seers & Sages:  The Angels of the Ages and A Beard of Stars’ “Elemental Child”. Rounding out this much-needed collection are “Cat Black” (from Tyrannosaurus Rex’s 1969 album, Unicorn) andElectric Warrior’s closing song, “The Motivator” from the Ty-Rex II 7”. Wrapping up this compilation discography of Ty-Rex material is the aforementioned previously-unreleased bonus track, Ty’s cover of “20th Century Boy” (a non-album T. Rex single from 1973).

Ty Segall - Ty Rex
105GONE
A
1. Fist Heart Mighty Dawn Dart
2. Buick Mackane
3. The Slider
4. Woodland Rock
5. 20th Century Boy
B
1. Salamanda Palaganda
2. Elemental Child
3. Cat Black
4. The Motivator

All songs written by Marc Bolan
All songs performed and recorded by Ty Segall
Mastered by Jason Ward, Chicago Mastering

www.goner-records.com

Ty Rex

Buick Mackane

Ty Segall "Buick Mackane" || 'TY REX' [Goner Records]

BLACK ABBA
123GONE - Sold Out

A. Betting On Death
B. Civilized

BLACK ABBA (long form of BL'ABBA)is a New Orleans-based punk rock supergroup, featuring members of Trampoline Team, Buck Biloxi & the Fucks, Gary Wrong Group, and the head honcho for Pelican Pow Wow Records, with the promise of "adding more members." Their sounds are minimal punk with synth and shouting vocals; the songs are melodic and just the right length. And when the girls sing, they are talking shit.

More BLACK ABBA: https://blackabba.bandcamp.com/
https://www.facebook.com/blackabbablackabba

www.goner-records.com

Betting On Death

BLACK ABBA "Betting On Death'' 7" [Goner Records]

129GONE
Angry Angles "Angry Angles" LP/CD
Street Date: May 20, 2016
iTunes: https://itunes.apple.com/us/album/angry-angles/id1086730499

Angry Angles’ Retrospective is a 17-song collection that comprises 100% of the studio recordings by the duo of Jay “Reatard” Lindsey and Alix Brown, one that came together shortly after the mid-2005 demise of Lindsey’s long-running Lost Sounds. The sheer immensity of Jay’s musical discography relative to the artist’s demise at the age of 29 in January of 2010 is an undeniably impressive attribute of his legacy. But this is unlike other examples of massive output-footprints built via an uncontrollable sink-or-swim necessity to retain a prolific profile at any cost. This is no sort of prolonged demo or practice session for what came next. 

Sure, extraneous live documents reveal a handful of set items that would turn up on that landmark album, and there’s more than a passing riff or several heard amongst the songs collected here that would do the same. Ms. Brown herself even turned up handling on that album’s "I See You Standing There" and some vocals on "We Who Wait". But the album didn’t really “come next” at all. Angry Angles’ musical demise, at some point during the latter half of 2006, was a direct result of Brown and Lindsey’s demise romantically, but concurrent with the many previous months of activity and productivity was the writing and recording of Blood Visions. 

It’s release in October of 2006 was to be followed closely by a proper studio full-length by Angry Angles, with the latter receiving heavier promotion. Well, whatever it says about…whatever, it can’t be denied that Jay + Alix was a hell of lot easier on the proverbial peepers in a marketing sense than “Jay + his whitey-tighties + pig’s blood”. 

And unlike much of the man’s discography, this was not “The Jay Show” all the way. Brown wrote three of these tracks, the amazing “Apparent Transparent” as well as no-slouch “In My Room” and appropriately, “You Call It Love”. Overall, these songs are guitar-based noise-pop/punk (not “pop-punk”) certainly informed by the garage-rock/punk landscape that Jay was constantly and effortlessly schooling. There’s certainly outside influence but “the hook” is clearly the biggest concern at the end of the day.

Then there’s the five never-before-released songs if we’re talking generosity: An unreleased version of “Things Are Moving” (that kicks off the collection), a cover of the Oblivians’ “Memphis Creep”, and of arguably the most gravitas…three songs (the collection’s closing triad of “Can’t Do It Anymore”, “All the Same” and “Set in Stone”) that came out of a session (recorded by Chris Thief) when the band went to Montreal to perform and ultimately shelved by Jay solely based on the fact that they weren't recorded by Jay. Amongst the preceding 12 tracks, it should be mentioned, are four cover versions, and if it isn’t already a known rule with such a thing and the Jay Reatard discography as a whole, covers are a special thing and well beyond the “here’s something I want you to know I’m on board with!” gesture. We get A.A.’s treatment of Wire’s timeless piece of post-punk pop, “The 15th”, another end of the same basic era but no less hooky in the Urinals’ “Black Hole”, the proto-all-of-that greatness of Devo’s “Blockhead”, and a reorg of the Oblivians’ regional character assassination, “Memphis Creep”.

This retrospective is the result of nine months of work by the involved parties of Goner Records; co-founder and handler of band’s visual presentation, Alix Brown; Adam Shore, Jay's manager/archivist in life and beyond; Tour/sometimes studio drummer, Ryan Rousseau (then of Tokyo Electron and then and now the man responsible for the almighty Destruction Unit.)

- Andrew Earles, 2016

www.goner-records.com

Angry Angles

Things Are Moving (Unreleased Version)

Angry Angles "Things Are Moving" (Unreleased Version)|| 'Angry Angles' [Goner Records]

129GONE
Angry Angles "Angry Angles" LP/CD
Street Date: May 20, 2016
iTunes: itunes.apple.com/us/album/angry-a…les/id1086730499

Angry Angles’ Retrospective is a 17-song collection that comprises 100% of the studio recordings by the duo of Jay “Reatard” Lindsey and Alix Brown, one that came together shortly after the mid-2005 demise of Lindsey’s long-running Lost Sounds. The sheer immensity of Jay’s musical discography relative to the artist’s demise at the age of 29 in January of 2010 is an undeniably impressive attribute of his legacy. But this is unlike other examples of massive output-footprints built via an uncontrollable sink-or-swim necessity to retain a prolific profile at any cost. This is no sort of prolonged demo or practice session for what came next.

Sure, extraneous live documents reveal a handful of set items that would turn up on that landmark album, and there’s more than a passing riff or several heard amongst the songs collected here that would do the same. Ms. Brown herself even turned up handling on that album’s "I See You Standing There" and some vocals on "We Who Wait". But the album didn’t really “come next” at all. Angry Angles’ musical demise, at some point during the latter half of 2006, was a direct result of Brown and Lindsey’s demise romantically, but concurrent with the many previous months of activity and productivity was the writing and recording of Blood Visions.

It’s release in October of 2006 was to be followed closely by a proper studio full-length by Angry Angles, with the latter receiving heavier promotion. Well, whatever it says about…whatever, it can’t be denied that Jay + Alix was a hell of lot easier on the proverbial peepers in a marketing sense than “Jay + his whitey-tighties + pig’s blood”.

And unlike much of the man’s discography, this was not “The Jay Show” all the way. Brown wrote three of these tracks, the amazing “Apparent Transparent” as well as no-slouch “In My Room” and appropriately, “You Call It Love”. Overall, these songs are guitar-based noise-pop/punk (not “pop-punk”) certainly informed by the garage-rock/punk landscape that Jay was constantly and effortlessly schooling. There’s certainly outside influence but “the hook” is clearly the biggest concern at the end of the day.

Then there’s the five never-before-released songs if we’re talking generosity: An unreleased version of “Things Are Moving” (that kicks off the collection), a cover of the Oblivians’ “Memphis Creep”, and of arguably the most gravitas…three songs (the collection’s closing triad of “Can’t Do It Anymore”, “All the Same” and “Set in Stone”) that came out of a session (recorded by Chris Thief) when the band went to Montreal to perform and ultimately shelved by Jay solely based on the fact that they weren't recorded by Jay. Amongst the preceding 12 tracks, it should be mentioned, are four cover versions, and if it isn’t already a known rule with such a thing and the Jay Reatard discography as a whole, covers are a special thing and well beyond the “here’s something I want you to know I’m on board with!” gesture. We get A.A.’s treatment of Wire’s timeless piece of post-punk pop, “The 15th”, another end of the same basic era but no less hooky in the Urinals’ “Black Hole”, the proto-all-of-that greatness of Devo’s “Blockhead”, and a reorg of the Oblivians’ regional character assassination, “Memphis Creep”.

This retrospective is the result of nine months of work by the involved parties of Goner Records; co-founder and handler of band’s visual presentation, Alix Brown; Adam Shore, Jay's manager/archivist in life and beyond; Tour/sometimes studio drummer, Ryan Rousseau (then of Tokyo Electron and then and now the man responsible for the almighty Destruction Unit.)

- Andrew Earles, 2016

www.goner-records.com

You Fell In

Angry Angles "You Fell In" || 'Angry Angles' [Goner Records]

Ty Segall 'Singles 2007-2010
Buy: http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=2&products_id=8294

Jet-packing around the indie / garage cosmos for the last four years, Ty Segall has done too many singles and EPs and split records and shared records and albums and cassettes to count. He’s found himself increasingly in the spotlight, and this year’s Goodbye Bread for Drag City was met with a big wet kiss from the indie media world. But Segall don’t care about that. He ain’t in it for the corporate buck. He’s made it because he’s toured constantly, puts on a great show and genuinely loves what he does.Goner is proud to present a double-album of tracks culled from Segall’s massive out-of-print catalog—plus some stuff that never made it out in the first place. Here ya go: Singles 2007-2010.

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Ty Segall "Skin" // 'Singles 2007-2010' Out Now On Goner Records

NOTS // COSMETIC
131GONE
Release Date: 9/9/16

Second full-length statement from Memphis' NOTS, Cosmetic fearlessly attacks the rough edges between desire, deceit, appearance and reality. Not chanting down Babylon, Natalie Hoffmann screams straight into its face. In this Game Of Death, Nots run through the maze of mirrors with sledgehammers. Oh, the sound of mirrors smashing. Let's smash some more.

Nots are still a wild guitar band, but above and below the guitar, bass and drum pound, Alexandra Eastburn's analog synth blurps melodies and nonsense, teasing squiggles of freedom which defy the false grid of modern life. Cosmetic? Emetic? "Monotone Lust" indeed. With Hoffmann on guitar & vocals, Eastburn on synth, Charlotte Watson beating drums, and Meredith Lones steering a solid path through the chaos on bass, Nots are neither content with the smug "stare at your shoes" approach of bands from both coasts, nor an Earth-hugging "we need to get back to nature" hippie copout. There might not be any answers here. That might be the point. Nots have arrived at the next level of their attack with a confidence and a music that lays waste to the wasteland without romantic attachment to a thing.

Recorded with Keith Cooper and Andrew McCalla in Memphis. Mastered by Jason Ward at Chicago Mastering. Album Art by Natalie Hoffmann.

FB - www.facebook.com/memphisnots
IG & Twitter - @notsmemphis

www.goner-records.com

Cosmetic

Inherently Low

NOTS "Inherently Low" || 'Cosmetic' [Goner Records]

142Gone/DCR070 || Release Date: September 8th, 2017
Available on LP, CD, cassette, and digital formats

“I HAD TO WORK, I HAD TO PAY. BUT THEN I FOUND, A NEW DRIVEWAY”
 
Rolling out of LA with wind in their hair and sweat in the synths, ready to set the skate parks on fire come Cobra Man's Andy Harry and Sarah Rayne. When the two crossed paths, their aim was to push their sound past the point of being comfortable. “Instead of filtering out the ideas some people might consider cheesy or too catchy we wanted to own them and go with it,” explains Andy. “We've carved out a little space for ourselves to embrace whatever fun stuff we want. There was a process between Sarah and I about choosing vibes and pacing, so in a sense the whole thing was written in different characters but under the umbrella of our personalities.”

It's a lo-fo punk journey through bastardized arpeggiated italo disco for the Thrasher generation, you'll hear that in tracks like "Magic Hour". Whereas "Weekend Special" conjures up a pixilated streets of rage style call to arms, busting your way through the jocks with the Skatt Bros blasting in your headphones. "Lazyman" turns the guitars up to 11 and lays on the thick Goner sound we all know and love, but never strays from the disco and punk infused soul of Cobra Man.

The debut album is inspired by and written for The Worble Collective and skateboarding videos, with bass lines being laid down on a battered old 80's Diamond bass, soaring synth melodies, Daft Punk strings and euphoric vocal hooks. It's rammed with influence ranging from Sister Sledge to Devo, Stereolab to Black Moth Super Rainbow, Ariel Pink to William Onyearbor, ELO to The Kinks.

New Driveway Soundtrack pushes across genres as frequently as it does environments. This infectious neon celebration will surely freshen your spirits and loosen your hips, satisfying your innate need for classic innovation and fun...

Follow us as we further coast deeper down the New Driveway.

www.goner-records.com

New Driveway Soundtrack

Weekend Special

Cobra Man "Weekend Special" || 'New Driveway Soundtrack' [Goner Records/Danger Collective]

142Gone/DCR070 || Release Date: September 8th, 2017
Available on LP, CD, and digital formats via Goner Records
Available on cassette via Danger Collective Records
 
“I HAD TO WORK, I HAD TO PAY. BUT THEN I FOUND, A NEW DRIVEWAY”
 
Rolling out of LA with wind in their hair and sweat in the synths, ready to set the skate parks on fire come Cobra Man's Andy Harry and Sarah Rayne. When the two crossed paths, their aim was to push their sound past the point of being comfortable. “Instead of filtering out the ideas some people might consider cheesy or too catchy we wanted to own them and go with it,” explains Andy. “We've carved out a little space for ourselves to embrace whatever fun stuff we want. There was a process between Sarah and I about choosing vibes and pacing, so in a sense the whole thing was written in different characters but under the umbrella of our personalities.”
 
It's a lo-fo punk journey through bastardized arpeggiated italo disco for the Thrasher generation, you'll hear that in tracks like "Magic Hour". Whereas "Weekend Special" conjures up a pixilated streets of rage style call to arms, busting your way through the jocks with the Skatt Bros blasting in your headphones. "Lazyman" turns the guitars up to 11 and lays on the thick Goner sound we all know and love, but never strays from the disco and punk infused soul of Cobra Man.
 
The debut album is inspired by and written for The Worble Collective and skateboarding videos, with bass lines being laid down on a battered old 80's Diamond bass, soaring synth melodies, Daft Punk strings and euphoric vocal hooks. It's rammed with influence ranging from Sister Sledge to Devo, Stereolab to Black Moth Super Rainbow, Ariel Pink to William Onyearbor, ELO to The Kinks.
 
New Driveway Soundtrack pushes across genres as frequently as it does environments. This infectious neon celebration will surely freshen your spirits and loosen your hips, satisfying your innate need for classic innovation and fun...
 
Follow us as we further coast deeper down the New Driveway.

www.goner-records.com

Cobra Man "Ociffer" || 'New Driveway Soundtrack' [Goner Records/Danger Collective]

142Gone/DCR070 || Release Date: September 8th, 2017
Available on LP, CD, and digital formats via Goner Records
Available on cassette via Danger Collective Records

“I HAD TO WORK, I HAD TO PAY. BUT THEN I FOUND, A NEW DRIVEWAY”

Rolling out of LA with wind in their hair and sweat in the synths, ready to set the skate parks on fire come Cobra Man's Andy Harry and Sarah Rayne. When the two crossed paths, their aim was to push their sound past the point of being comfortable. “Instead of filtering out the ideas some people might consider cheesy or too catchy we wanted to own them and go with it,” explains Andy. “We've carved out a little space for ourselves to embrace whatever fun stuff we want. There was a process between Sarah and I about choosing vibes and pacing, so in a sense the whole thing was written in different characters but under the umbrella of our personalities.”

It's a lo-fo punk journey through bastardized arpeggiated italo disco for the Thrasher generation, you'll hear that in tracks like "Magic Hour". Whereas "Weekend Special" conjures up a pixilated streets of rage style call to arms, busting your way through the jocks with the Skatt Bros blasting in your headphones. "Lazyman" turns the guitars up to 11 and lays on the thick Goner sound we all know and love, but never strays from the disco and punk infused soul of Cobra Man.

The debut album is inspired by and written for The Worble Collective and skateboarding videos, with bass lines being laid down on a battered old 80's Diamond bass, soaring synth melodies, Daft Punk strings and euphoric vocal hooks. It's rammed with influence ranging from Sister Sledge to Devo, Stereolab to Black Moth Super Rainbow, Ariel Pink to William Onyearbor, ELO to The Kinks.

New Driveway Soundtrack pushes across genres as frequently as it does environments. This infectious neon celebration will surely freshen your spirits and loosen your hips, satisfying your innate need for classic innovation and fun...

Follow us as we further coast deeper down the New Driveway.

www.goner-records.com

Fire

Cobra Man "Fire" || 'New Driveway Soundtrack' [Goner Records/Danger Collective]

Released alongside the full length video from Worble skate collective, 'TOXIC PLANET' is Cobra Man’s bold follow up to their debut album 'New Driveway Soundtrack.' This record proves to be a strong move for the band whose odd inception was a series of skate videos for Thrasher Magazine. 

'TOXIC PLANET' is an album for a new way of life put on by the charismatic Los Angeles power disco duo. Cobra Man blurs the lines between genre exclusivity, blending the essence of classic disco funk, the raw power of warehouse punk, and the supernatural qualities from our favorite slasher films. Listening to this record, the mysterious and obscure are brought into the purple light on a smoke filled dance floor in a late nite place you’ve only ever heard about. 

The duo’s continually evolving production techniques, refined arrangements and distinct vocal styles guarantee an exciting step forward since the groups initial release last year on Goner Records. 

If there’s one thing we know: The future is Toxic Planet. 

LP/CD/CASS out October 12th on Goner Records
www.goner-records.com

PREORDER

Cobra Man "Bad Feeling"

Cobra Man "Toxic Planet"

Nots - Half Painted House

Nots - Floating Hand

Here it is! Brisbane (via Melbourne), Australia-based quartet Thigh Master are back with the long awaited second LP Now for Example -- the follow up to their 2016 debut Early Times. Following a string of sold out singles, as well as tours of the US, Japan, and Europe, the guitar-pop-guardians of the Brisbane underground deliver Now for Example, a twelve song hook-laden exertion, filled with imperious string bends and riffage framing witty tales of lethargic social observation, concocted by band leader Matthew Ford.

Now for Example sees the most compelling and virtuosic combination of Thigh Master members to date, with Innez Tulloch (guitar/keys), Dusty Anastassiou (drums) and Daniel Ford (bass) contributing heavily to its foundations and creating a bulk of their parts off the cuff during recording sessions, which took place in various houses between Melbourne (*Birraranga) and Brisbane (*Beepooban & *Gootcha). The intervals of ragged, jangly guitar riffs interspersed with waves of distorted sonic mischief recall the late 80s/early 90s Flying Nun sound of the Clean, Bats and 3Ds.

While Early Times got it’s vitality from a constant sense of urgency, Now for Example takes its time and the songs shine for it. “Subtropic Buck (Always a Loan)” opens with a dry, quirky guitar riff with an ascending melody leading nicely into a nonchalantly descending chorus that’s incredibly catchy. The pace slows at the end to accommodate vocal harmony variants floating amidst churning distortion lifting the song subtly into space. “Claps for Clats” features bouncing trombone stylings, courtesy of Aussie underground wunderkind Nicole Thibault from Thibault, Minimum Chips, and Clag. “BBC” leads with a big, upbeat guitar riff containing a hint of ethereal travel. The mid-tempo drum pace drives the riff covering the vocals in a wash of late-night-riding-in-the-back-of-a-car fun.

Now for Example comes out worldwide September 27, 2019 on Goner Records.
Catch Thigh Master on their US tour in September and October, and in Europe soon after.

RIYL: The Clean, The Bats, Verlaines, 3Ds, The Go-Betweens, The Cannanes, Hüsker Dü, Polvo

* Indigenous titles

Now For Example

Thigh Master - Mould Lines

The Barbaras 2006-2008
Release Date: Oct. 30th, 2012
Buy: http://www.goner-records.com/cart/index.php?main_page=product_info&cPath=16&products_id=10008

In the late 2000s, Memphis had The Barbaras, a handful of early-20s music heads colliding in the midtown bar scene and making a racket that captured VOM and Del Shannon in a blender. The band was great, the live shows were insane—see the checklist below.

• Maniacal bearded frontman (Billy Hayes)

• Incredibly tall bassist (Bennett Foster)

• Synthesizer mastermind (Will McElroy)

• Boy-next-door guitarist (Alex Gates)

• An array of unbalanced drummers

• Crowd interference (Stephen Pope)

• Shows that included props, costumes and groupies

• Had a somewhat cult-like aura

• Always had fun and seemed to enjoy each other’s company 

• Could induce grown men to strip and gyrate on the bar at a show 

• Staged orgies, deaths and resurrections at live shows

• Performed ventriloquist act

• Wrote great absurd pop songs 

One thing they didn’t do? Record an album. Although they tried. Jay Reatard recorded them in fits and starts between touring, but after taking two Barbaras (Hayes and Pope) for his road band and touring constantly over the next few years, the group flamed out. The Magic Kids formed in their wake. When Hayes and Pope eventually left Reatard’s band and joined Wavves, he told them that he erased all of the Barbaras recordings.

In 2011, Goner was excited to find the sessions safe and sound right where Reatard had left them, on his digital recorder. Alicja Trout helped the band finish recording and mixing the tracks, and when paired with their own recordings (plus some heavy-duty work from Jason Ward at Chicago Mastering) it was clear their legacy held more than just a great (and now out-of-print) single. There’s a Barbaras album after all—and it’s a doozy.

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The Barbaras "Day At The Shrine" // '2006-2008' Out Now On Goner Records

Street Date: 10/16/20

This would be the first proper Quintron and Miss Pussycat full-length since 2011’s Sucre Du Sauvage, and the duo’s third for Memphis Tennessee’s weirdo-rock label Goner Records. Produced by Greg Cartwright (The Oblivians / Reigning Sound) and recorded on 2 inch tape at Gainesville Florida’s PULP ARTS studio, Goblin Alert picks up where Sucre Du Sauvage left off- snotty, semi-political, trash-anthems like, “Teenagers Don’t Know Shit,” “Stroller Pollution” and “Buc-ee’s Got A Problem.” Also, for the first time ever, Q and P have ditched the drum machine in favor of New Orleans jazz-basher, Sam Yoger (Babes, AJ Davilla) on drum kit, and slinky Florida man,  Danny Clifton (Room 13, Jane Jane Pollock) on hollow body guitar. The resulting vibe is some kinda tweaked-out Miami disco dipped into a Mississippi mudslide, especially the tracks featuring Biloxi talk-box master, Benny Divine (aka BENNI). And for the mystery lovers, there is 3/4 power-ballad entitled, “Where’s Karen,” featuring backing vocals by Heather Lee (Room 13, Jane Jane Pollock), about a troubled girl who vanished on Mardi Gras day.

Quintron and Miss Pussycat have been making genre-defying noise and hard rocking dance music in New Orleans for over fifteen years. The majority of their 16 full-length albums have the psychedelic soul of traditional New Orleans party music, filtered through a vintage Hammond B-3, technicolor puppets, and a battalion of distorted, homemade instruments.
In addition to his work with Miss Pussycat, Quintron has been releasing albums featuring a self-made weather synthesizer called "WEATHER WARLOCK", which uses sun, rain, temperature, and barometric pressure to make music. He has also played Hammond organ on a number of records by other artists, most notably THE OBLIVIONS "9 Songs" and STEVE RILEY AND THE MAMOU PLAYBOYS "Grand Isle" which was nominated for a Grammy in 2012 and featured the Quintron penned song "Chatterbox". Quintron has also appeared in several films and television shows, including 2019 Showtime hit, On Becoming A God In Central Florida.
Quintron and Miss Pussycat’s sweaty musical blasts are paralleled in spirit and performance by Miss Pussycat’s dreamy puppet worlds – elaborate, and beautifully crafted for success in intimate venues of late-night drinking and dancing. She has also had several major solo museum exhibitions and, although the puppets are NEVER for sale, ceramics, paintings and other visual work related to her puppetry, are represented by the Webb Gallery in Waxahachie Texas. A large show of oil paintings and ceramics is scheduled for Fall 2020
The Quintron / Miss Pussycat experience is one of barely controlled electronic chaos, "Swamp-Tech" dance beats, small explosions, incredible clothes, and entertaining puppet stories.  You can see them perform regularly at the Spellcaster Lodge in New Orleans, Louisiana or on one of their many tours around the world.  This act somehow has equal relevance in sleazy nightclubs, pizza restaurants, and university lecture halls.

Goblin Alert

Quintron & Miss Pussycat - Buc-ee's Got a Problem

Ty Segall "Cat Black (Wizard Hat)" b/w "The Motivator" 7" 

In recognition of Record Store Day 2013, Ty Segall has teamed up with Goner Records to release a sequel to the OOP Ty Rex EP, the Ty Rex 2 7". If you missed Goner's initial release back in 2011, fret not. This 45 presents two classic tracks pulled from either half of Bolan's prolific career with the T. Rex project Cat Black (Wizard Hat), one of the last freak folk productions from T. Rex before Bolan ditched the hobbit, Steve Peregrine Took, on the gong, and The Motivator, from the seminal Electric Warrior album. Each are interpreted in an intriguingly reserved, yet unflaggingly explosive style by San Francisco's favorite son.

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Ty Segall "The Motivator" // TY REX 2 - Record Store Day 2013 Release

A label. A store. A state of mind. 
Headquartered in Memphis, TN. Host of Gonerfest. Record store in Cooper Young carries vinyl records, CDs, cassettes, and more, specializing in garage rock, punk, indie rock, soul, jazz, blues and Memphis music. Home of Elvis Impersonator shrine. 

Label artists include: Jay Reatard, NOTS, Ex-Cult, Ty Segall, Guitar Wolf, King Khan & BBQ Show, Carbonas, Quintron, and Eddy Current Suppression Ring, and many more.

Popular tracks by Goner Records