Indie Exclusive Releases

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Limited edition indie exclusive with a booklet signed by the entire band!

One part invading horde and all parts traveling carnival party, Black Label Society traverses the world powered by caffeine and cacophony. BLS engages and inspires audiences everywhere they go, on every radio dial they burn, inviting all comers to join in and participate in their brotherhood and sisterhood of hard rock and vigor. Now with ten BLS studio albums deep, with solo records, Ozzy shows, and Zakk Sabbath tours all kicking ass simultaneously, Zakk Wylde rides ever forward, fist held high. ZAKK WYLDE on THIS 20th ANNIVERSARY BLEND: “The original recording back in 1997 was mastered with high volume, alcohol, and dance,” says Wylde from his home studio. “We went in and worked off the existing performances and focused on the high volume and dance while replacing the booze with viagra and anabolic steroids.”

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Grammy-nominated exploratory rock band Baroness return with their most ambitious work to date, fifth album Gold & Grey. Set for release on the band's own Abraxan Hymns, Gold & Grey spills triumphantly past genre barriers, their anthemic alt-metal hooks ricocheting between the circuitous twists of prog and jazz, the moody swirls of space-rock and noise, and the hypnotic pulses of trip-hop and 20th Century minimalism.
 
"This is the most clear representation of the artistic vision I have for the band that we've ever done," says Baroness vocalist, guitarist and founder John Dyer Baizley. "I'm surprised that we got as far with it as we did."
 
Baizley sees the diverse, adventurous album as a "lateral step" from the streamlined, immediate guitar-rock of the band's last release, Purple, championed by Rolling Stone, Pitchfork and L.A. Weekly as one of the best metal albums of 2015. Gold & Grey works like a melodic puzzle, melodies and harmonic ideas borrowed, repurposed and reinterpreted across three sides of vinyl. Lyrics are full of sonic Easter eggs; unorthodox prog is hidden inside the most accessible songs; tunes emerge from swirling chaos and dense layers of sound. The album is given color by strings, glockenspiel, tubular bells, piano, synthesizers and even field recordings of the chaos after a transformer blew up outside of the recording studio.
 
"The term I kept using was that I wanted to create something that was more kaleidoscopic than our former records," says Baizley, who embraced the wide lens and limitless journeying of artists like Pink Floyd, Neurosis, Massive Attack and Scott Walker. "We were trying to say something new with our instruments, with our sound intact, with the spirit of the band intact, but not applying the typical conventions when possible."
 
For the first time ever, there's a spotlight on Baroness' powerhouse rhythm section – driving-and-spilling drummer Sebastian Thomson (Trans Am, Publicist) and jazz-honed bassist Nick Jost. Bustling with rhythmic complexity, the band occasionally swerves into highways of math rock, post-rock, krautrock and various strains of electronic music. In addition, the band has absorbed Gina Gleason, a gifted guitarist whose résumé includes playing with Cirque du Soleil in Las Vegas and jamming with both Smashing Pumpkins and Carlos Santana. Gleason's voice harmonizes with Baizley and Jost, bringing new tone to the band.
"It's great for me to have such a full-bodied trust in the other musicians in the band because they play at such a high level," says Baizley. "I never, ever in a million years thought I'd play with musicians of that caliber and now I'm surrounded by them."
 
Like Purple, the band recorded with prismatic, Grammy-winning producer Dave Fridmann (Flaming Lips, MGMT, Mercury Rev) at his Tarbox Studios. "There were so many split second decisions and just weird ideas that got used," says Baizley. "I credit Dave for a lot of this because he was never one to say 'No, that's insane.' It was like almost the more out there the idea, the more likely he was to encourage it to be developed and grown.”
 
"We went outside, in front of Dave's studio, on one of his off days, we miked up a wooden post and hammered a nail into it," says Baizley. "There's so much hidden in there. There's also some audio samples of some of my friends. I literally did the Pink Floyd thing. I set up a little booth in my basement. I said, go down there, you got five minutes, tell me the toughest thing you want to tell me. And boy, it was tough to listen to. I pulled those quotes, effected them and they popped into one of the tracks."
 
Lyrically, Gold & Grey plumbs similar depths of emotion. On previous albums, Baizley has sung boldly and openly about his mental health and the recovery process from the traumatic bus accident the band and their crew suffered in 2012.
 
"Where Purple was me lyrically trying to work out how to adjust to a new normal, I think Gold & Grey is a more grown-up and more subtle collection of words that reflect how I am trying to deal with the longer term effects of having experienced so many terrible things," says Baizley. "There's a mental component. There's a physical component. I choose to use the band as a place where I can take all of this stress, pain, anxiety, all these realities, and make them something good."
 
Nearly 15 years since releasing their first EP, Baroness are finding a way forward by reveling in chaos.
 
"We'd listen to playback and there was a general sense of confusion," says Baizley of the Gold & Grey sessions. I couldn't figure out how Gina was making that sound. I didn't understand how the rhythm that Nick and Sebastian were playing worked with what I was doing – but it did. It was a really exciting to feel like we were maybe on the edge of just falling apart. We didn't want to know what was going on. We wanted to be always a little bit surprised by ourselves."
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Celebrating the release of Insane Clown Posse's 15th studio album 'Fearless Fred Fury,' the band unleashes a blind box of 3" singles featuring the songs "Red Fred," "Low," "West Vernor Ave," along with the previously unreleased song "Revenge." Each record has its own individual color and every blind box comes with a collector's Insane Clown Posse poster. 
The four available editions are: 
- Low (Green Record)
- Red Fred (Red Record)
- Revenge (unreleased) (Blue Record)
- West Vernor Ave (Yellow Record)
Order 4 Insane Clown Posse 3” records and guarantee yourself all of them while supplies last!
Plays on the RSD3 mini turntable, available for sale in-store!
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Commemorating the label’s 25th anniversary, this Hopeless Records blind-box pack is a tiny sampling of their eclectic catalog and a celebration of their history. Featuring pop-punk and alt rock hits from All Time Low, Neck Deep, The Wonder Years, and Stand Atlantic, this marks the first time these songs are available on 3" vinyl. Each release includes a fold-out poster and is limited to 1,000 copies.

Here's what's available in a blind box:

- All Time Low: So Wrong It's Right
- Neck Deep: Can't Kick Up the Roots
- Stand Atlantic: Skinny Dipping
- The Wonder Years: Sister Cities

Order 4 Hopeless Records 3” blind boxes and guarantee yourself all of them! While supplies last. 

Plays on the RSD3 mini turntable, available for sale in-store!

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In 1952, Sam Phillips founded the legendary Sun Record Company and throughout the '50s changed the course of music with artists like Johnny Cash, Jerry Lee Lewis and Elvis Presley. In 1969, Shelby Singleton, a music executive who ran, with his brother John, a stable of labels in Nashville, took ownership of Sun and the Singleton family continues to guide the legacy of Sun Record Company to this day. To mark the golden anniversary of Sun Record Company's move to Nashville with the Singletons, we're happy to present this RSD3 special collection of iconic tracks from the Sun vault, sized just right for a hit of rock 'n' roll!

Jerry Lee Lewis (born September 29, 1935), also known by the nickname The Killer, is an American singer, songwriter, and pianist. An early pioneer of rock and roll music, Lewis was inducted into the Rock and Roll Hall of Fame in 1986. "Great Balls of Fire" was originally released in 1957.

To be played on the RSD3 mini turntable, available for sale in-store!

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In 1952, Sam Phillips founded the legendary Sun Record Company and throughout the '50s changed the course of music with artists like Johnny Cash, Jerry Lee Lewis and Elvis Presley. In 1969, Shelby Singleton, a music executive who ran, with his brother John, a stable of labels in Nashville, took ownership of Sun and the Singleton family continues to guide the legacy of Sun Record Company to this day. To mark the golden anniversary of Sun Record Company's move to Nashville with the Singletons, we're happy to present this RSD3 special collection of iconic tracks from the Sun vault, sized just right for a hit of rock 'n' roll!

Carl Perkins (April 9, 1932 – January 19, 1998) is best known as the writer and original singer of rockabilly anthem "Blue Suede Shoes". Perkins was one of the seminal rockabilly artists on Sun Record Company, creating a body of work that has been both critically acclaimed and extremely influential. "Honey, Don’t!" was originally released in 1956 as the b-side to Blue Suede Shoes.

To be played on the RSD3 mini turntable, available for sale in-store!

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Limited edition indie exclusive with a booklet signed by the entire band!

One part invading horde and all parts traveling carnival party, Black Label Society traverses the world powered by caffeine and cacophony. BLS engages and inspires audiences everywhere they go, on every radio dial they burn, inviting all comers to join in and participate in their brotherhood and sisterhood of hard rock and vigor. Now with ten BLS studio albums deep, with solo records, Ozzy shows, and Zakk Sabbath tours all kicking ass simultaneously, Zakk Wylde rides ever forward, fist held high. ZAKK WYLDE on THIS 20th ANNIVERSARY BLEND: “The original recording back in 1997 was mastered with high volume, alcohol, and dance,” says Wylde from his home studio. “We went in and worked off the existing performances and focused on the high volume and dance while replacing the booze with viagra and anabolic steroids.”

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The fictional band from the NBC series Parks & Recreation is finally getting their due with a new album set to arrive on Aug. 27. And to mark the 10th anniversary of their Pawnee reunion performance where they debuted "5,000 Candles in the Wind" after the death of town mascot Lil' Sebastian, a new video and digital release for the song has arrived.

Led by Andy Dwyer, who previously fronted A.D and the D Bags, The Andy Andy Andies, Andy Dwyer Experience, Angelsnack, Crackfinger, Death of a Scam Artist, Department of Homeland Obscurity, Everything Rhymes with Orange, Fiveskin, Flames for Flames, Fleetwood Mac Sexpants, Fourskin, God Hates Figs, Handrail Suicide, Jet Black Pope, Just The Tip, Malice in Chains, Muscle Confusion, Ninjadick, Nothing Rhymes with Blorange, Nothing Rhymes with Orange, Penis Pendulum, Possum Pendulum, Punch Face Champions, Puppy Pendulum, Radwagon, Razordick, Scrotation Marks, Tackleshaft, Teddy Bear Suicide, Threeskin, Two Doors Down and Scarecrow Boat, the group is finally issuing their debut album.

The buzz from Mouse Rat’s performances at Pawnee’s Snakehole Lounge led to Dualtone’s partnership with Entertainment 720 co-founder and Snakehole Lounge part owner Tom Haverford. “Any creative business coming out of Pawnee is tied to Haverford” said Dualtone President Paul Roper, “From Rent-a-Swag to Tommy Fresh cologne and Tom’s Bistro, not to mention his business ideas not yet formed like the scented phone, talking tissues, contact lenses that display text messages and the glitter-infused laundry detergent Sparkle Suds, partnering with Entertainment 720’s hype machine was essential. The man is an idea factory.”

Roper continues, “This is about the team as much as it is the music. Andy’s wife and manager April Ludgate Dwyer is a marketing genius. Selling CDs at the Parks and Recreation shoeshine stand for $18 each, $40 for the set?? I don’t know anyone else who could pull that off.”

Mouse Rat's The Awesome Album will feature guest turns by Duke Silver and Land Ho!. The album will be available via Dualtone in partnership with Entertainment 20.

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Single LP on orange vinyl in same jacket as standard LP w/ plain-sleeve CD of bonus tracks & 24” x 24” folded poster insert. Full album download included. Ltd edition. Indie Only.

From Mac McCaughan of Superchunk: To write the songs for Here's to Shutting Up, we gathered in Jim's garage (he lived way out in the woods) a couple times a week for what seemed like months. We started from actual scratch with no demos or concepts, just playing instrumental music with our usual gear plus a Casio. We recorded the album in the Cabbagetown neighborhood of Atlanta at Zero Return, the studio built by Brian and Rob (aka Birdstuff and Coco the Electronic Monkey Wizard) of Man or Astro-man? Brian Paulson came with us to produce it.Here's to Shutting Up was meant to be released on September 18, 2001. On September 11, the world changed. Our release date moved a couple weeks, but our tour dates remained and we flew to Japan in October. It was a WILD time to be traveling the world. Receptions ranged from "thank you for giving us something else to think about" to "why are you here?" We flew home from Japan and left for the UK the day the US started bombing Afghanistan. This was the climate, and the climate was not great for playing rock music.

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Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA.  
 
In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten.

“We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” -FUZZ
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“Devolution Series #2 - Galactic Quarantine” was recorded between July and September 2020 in various places around the world. Originally streamed on September 5th, 2020 on StageIt.com as a replacement show for the COVID affected “Empath Vol 2 European Tour” and various cancelled Summer festivals. The show features Devin on vocals and guitars, Samus Paulicelli III on drums, Wes Hauch on guitars and Diego Tejeida on keys.

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On Fast Idol, LA-based Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. 

Melodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson’s San Francisco. ‘Somewhere’ opens in sombre herald, before dropping into a fast freeway tempo; the glassy synths and crisp beats cut through the anxious moods on ‘Bodies’ and ‘Try’ sits in a lineage with cult bands like Asylum Party. ‘The Garden’ is a journey through a post-apocalyptic cityscape, earthed by the pulse of a drum machine whereas ‘Ship To Shore’ could be a lost Oppenheimer Analysis B-side, and the album’s closer ‘Brighter and Bigger’ catches a sentiment like The Dadacomputer has learned to feel emotions. He captures the loneliness of Ray Bradbury’s atomic-era sci-fi and the apocalyptic but revolutionary spirit of Godard’s Sympathy for the Devil, as in ‘Preoccupation’, the beating heart of the album, which conjures ambivalent scenes of an empty world and the comfort to be found in a shared humanity.

Emerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. Seeking to channel this spirit, Black Marble recalls the gauzy tape wow and flutter of The Membranes and the warbling VCO of Futurisk, carrying on a sound that seeks to channel the future while imprinting residue of the past.

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The Pretty Reckless’ fourth full-length album, 'Death By Rock And Roll,’ is proving to be the band’s most ambitious release yet. With earliest ideas for the album tracing back to 2017, Taylor Momsen and co had to write through the heartbreaking loss of Chris Cornell, who was one of frontwoman Taylor Momsen’s musical muses. Shortly after, producer and longtime collaborator Kato Khandwala passed in a motorcycle accident. Despite the setbacks, the group pushed through the tragedy to complete the record; as soon as the band released the titular first single, they were launched into the spotlight once again. “Death By Rock And Roll” became the band’s fifth #1 song at Active Rock radio, a feat that hasn’t been accomplished by a female-fronted band. The album also features the singles “And So It Went” (featuring Tom Morello), “Only Love Can Save Me Now (featuring Matt Cameron and Kim Thayil)” and “25.” 

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The Record Company have outgrown the home recording of previous records and enlisted producer Dave Sardy (Fall Out Boy, A Perfect Circle, Modest Mouse) to work with them on their third studio album, Play Loud. The result is a sonic growth both in music and in songwriting, highlighting an ever-evolving band bringing rock back to the masses.

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In December of 2020, The Wild Feathers hauled off to a pre-civil war built cabin in VanLeer, TN where the ideas and songs from Alvarado met for the very first time. In the past, the band typically liked to collect all the tunes they’ve written over the past year, brainstorm, conceptualize, and rehearse isolated in a cabin before heading into the studio. This time for their 4th studio album, they decided to bring the studio to the cabin. The guys spent a week jamming and creating while having the ability to capture the performances while they were fresh. Produced by the band, Alvarado is the truest representation of The Wild Feathers to date. No outside musicians, no outside opinions, just us playing our new songs in a room with the best mics they could find.

The Wild Feathers - Alvarado [Indie Exclusive Limited Edition Orange and Black Blob LP]
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Back in September 2020, OSEES performed a blistering set out in the desert at Pappy & Harriet’s California, which aired on the LEVITATION Sessions streaming series.  Pressed on glorious 12" swirl colored vinyl, each record includes a bonus encore 7” with the final track from the show, "Block Of Ice" pressed on Milky-Clear vinyl.

"During this particularly hard year (2020), it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet's to reach out to some of our fans, if only for a fleeting hour. This is the proper plastic that came from that evening. We are trying to keep some of our favorite haunts, dives, glorious old venues and bars open through this triail, as it's obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses. Take care, be well and keep your eyes on the horizon." - John Dwyer

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OSEES return for another blistering LEVITATION Session, this time from the depths of a cavernous Los Angeles factory. The performance features a fresh batch of tracks spanning over a decade of the band's expansive discography with a handful of never-before-played-live tunes & some new surprises and is presented in its entirety here, pressed on a glorious Double 12" vinyl LP!

“OSEES pine for our fans and friends out there in the world, so we have come together for another stream with the mighty Levitation. I personally got stoned and stuck my face into the muck of our past catalog to bob for some dusty tumescent gems. There will be some oldies, and some moldies and some surprises along the way. I’m quite happy with how this one turned out. Shot in an insane old factory warehouse in Los Angeles (it looks like a fight scene set from Point Blank or the John Wick trilogy :) If you had told me a year ago we'd be doing these streams now i would have thought you were crazy, but, egg on my face, and here we are. I’m so glad to have this little thing to share a moment with y’all until we can meet face to face on the field of battle again. Mastered by the Guru JJ Golden, it will hopefully turn some frowns inside out and upside down....grossssss” - John Dwyer

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The 11 track studio album titled 'Time Flies' will be released by Mid Century Records under exclusive license to BMG. 

Time Flies, is an extraordinary collection that fuses intimate subject matter and upbeat guitar-led rock with irresistibly catchy electronic elements. In the half decade since her acclaimed 2016 album Wild Things, Pip has gone through a personal transformation. 

Pip has openly struggled with mental health, anxiety and depression for a long time and, after dealing with severe postnatal depression + a serious skin cancer condition which has thankfully seen a full recovery, was able to successfully procure the right balance of therapy & medication which is so individually specific. When she embarked on writing songs for this new record in 2019, there was a sense of freedom in the work. “I was feeling pretty grateful to be alive and making music, so I felt like I didn’t ‘care’ anymore - not in a bad way, I just stopped overthinking it.”

Time Flies was produced with a host of incredible collaborators including, LA songwriter and producer Tommy English (K.Flay, Carly Rae Jepsen, Kacey Musgraves, Adam Lambert, Broods etc), Auckland based Josh Fountain (Leisure, Benee),  Jeremy Toy (Leonard Charles, She’s So Rad) , Sydney's Chris Stracey (Bag Raiders, Paloma Faith, Diplo.) and  Jono Sloan (Empire Of The Sun, PNAU) 

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Mica Tenenbaum and Matthew Lewin began their musical journey together over 10 years ago in a Miami after-school music program. Connecting through their shared music tastes, the two formed a band that endured until the two parted ways for college. Not long afterward, Tenenbaum and Lewin reconnected and formed what we now know as the indie-pop duo Magdalena Bay.

The duo released their EP truly moments before the pandemic pervaded through North America, bringing their tour to an abrupt end. Resiliency illustrated at its peak, Magdalena Bay dipped their heads into a focused timeline, coming out of the pandemic with their debut album, Mercurial World. Magdalena Bay peruses the sound of experimental pop, crafting a synthy world that shatters genres and bends time to the pair’s will, elevating their sound to match their philosophical reflections. Lewin shared, “We spend all of our time together, and in some ways Mercurial World is about that particular sense of madness in containment. We live together and make art together; this immerses you in our creative, insular universe.”

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Billy Bragg will be releasing a pandemic blues LP on 10/8 via Cooking Vinyl. This is his 10th studio album. The Million Things That Never Happened was produced by Romeo Stodart and Dave Izumi at Echo Zoo studio in Eastbourne, England. Bragg wrote the entire album solo, aside from “Ten Mysterious Photos That Can’t Be Explained,” which he co-wrote with his son Jack Valero.

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To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we’ve come to expect from THRICE over the last twenty years. With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they’ve given us a profoundly meditative work which serves as a musical summons to everyday attentiveness.

Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synth-driven number “Color of the Sky,” which sounds well-suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/East conveys a palpable sense of danger, determination, and possibility.

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Natalie Hemby will be performing at the Newport Folk Festival on July 24. She won a GRAMMY for Country Song of the Year for “Crowded Table,” the song she wrote with Lori McKenna and performed as a member of The Highwomen. 180-gram Clear Smoke LP. Indie Exclusive.

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Colors II - Between the Buried and Me - - Fourteen years after releasing their progressive metalcore masterpiece, Colors, Between the Buried and Me have returned with it's epic sequel, Colors II.

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Why Do Birds Sing? is the 5th studio album from the textbook American cult band, Violent Femmes. It was their last studio album with original drummer, Victor DeLorenzo. Featuring the fan favorite “American Music,” which reached #2 on Billboard’s Modern Rock Chart, as well as a cover of Culture Club’s “Do You Really Want To Hurt Me.” “The momentum of the song [“American Music”] and the album that spawned it provided a springboard for the band to bona fide cult status.” – Rolling Stone.

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Brandi Carlile's new album, In These Silent Days, October 2021 via Low Country Sound/Elektra Records. It's the follow-up to her 2018 album By The Way, I Forgive You, and she recorded it at Nashville's RCA Studio A with producers Dave Cobb and Shooter Jennings. Tim Hanseroth (vocals, bass), Phil Hanseroth (vocals, guitar), Cobb (guitar, percussion), Jennings (piano, organ, synth), Chris Powell (drums, percussion), and Josh Neumann (strings) all appear on the album, and Jess Wolfe and Holly Laessig of Lucius make a guest appearance, adding backing vocals to "You And Me On The Rock."

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In Pond’s universe nothing stays still for long. Although no one who heard 2019’s “Tasmania” could possibly describe its pulsating psych - pop as straight, Pond wanted to try a more spontaneous way of working for their next record.

Taking a leaf out of krautrock outliers Can’s book, at the start of 2020, Pond embarked on a series of totally off-the-cuff jam sessions from which songs and ideas could be pulled out.

Given the pace at which ideas whizz past your head, it makes for a dizzying listen. Opener Song For Agnes explodes out the speakers like an intergalactic rock opera, running a synapse-tingling gauntlet through bubbling synth pop, 80s hair metal and blissed out saxophone before you know what’s hit you.

It’s an apposite curtain-raiser for an album that can encompass pounding techno (Human Touch), elastic hipped robo-funk (America’s Cup), tripped out motorik (Czech Locomotive) and acres more besides without even topping for breath. Take lead single Pink Lunettes, which opens up thumping like ESG eight hours into a session at Berghain before climbing aboard a gargantuan synthship and disappearing off over the horizon.

Lyrically, too, 9 takes Pond into uncharted territory. Allbrook’s songs here take a more impressionistic tack than before, resulting in both the hilarious one-liners within Human Touch’s gonzoid thrash (sample lyric: “she was jacking a car but she seemed quite nice so I let her use the toilet in my place”) and the social and environmental concerns of blissed out closer Toast, which addressed both last year’s bush fires and the appalling wealth divide in Allbrook’s childhood home in Western Australia.

Above all though, what you get from “9” is a sense of creative abandon and just plain fun. If it was only a fraction as enjoyable to make as it is to listen to then they must have been having a hoot.

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