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  1. BRAID- "Movie Music Vol.1" 2XLP (180-gram)

    BRAID- "Movie Music Vol.1" 2XLP (180-gram)


    Movie Music Vol. 1 features all of Braid's single and split single tracks in chronological order. It contains the following releases as well as one previously unreleased track. Songs 1-11 feature original Braid drummer and founding member, Roy Ewing (Very Secretary, Days in December, Mary Me). From their inception in 1993, Braid released nearly as many songs on 7"s, split 7"s, and compilations as on its three albums. The idea of finding all of the original masters to the songs and releasing them was conceived by Braid as early as 1997. Many of the songs were crowd favorites live, yet the releases they appeared on were dropping out-of-print. The demand continued to grow with the number of unavailable songs. In August 1999, Braid decided to part ways after six years. The desire to digitally document the early releases was again voiced by the band. In October 1999, after two years of tracking down all of the original source tapes, Braid re-mastered each of Movie Music's 36 songs direct from the original masters. Movie Music was then broken into two separate releases to make room for lyrics and liner notes for all 36 songs along with nearly 100 photos. All told, Movie Music Vol. 1 and 2 include 31 songs from singles, split singles, and compilations plus 5 previously unreleased songs. After being on Braid's "upcoming release itinerary" for over three years, practically every Braid fan anywhere had been waiting for Movie Music and in March 2000, the project was finally completed. Polyvinyl Records. Learn More
  2. HIGHNESS- "Hold" LP

    HIGHNESS- "Hold" LP


    It can be difficult for a fledgling band to attract listeners based solely on musical merit and, while it’s not uncommon to mention members’ previous endeavors, HIGHNESS‘ debut album Hold stems from a desire to create something more than the sum of its parts, something hinted at by the contributing artists’ past work but expected by nobody. The band’s pedigree includes such varied approaches as CHRISTIE FRONT DRIVE’s heartfelt emo, DARKEST HOUR and PG.99′s frantic aggression, the expansive experimentalism of GHASTLY CITY SLEEP and ANTARCTICA, the atmospheric post-hardcore of CITY OF CATERPILLAR and FORENSICS, or the hushed ambient soundscapes of AUGHRA and YEARS – a coterie of artists characterized by an attempt to navigate their respective styles into uncharted territory. But HIGHNESS is less about what its contributing musicians have done and more about the process of reinvention and refinement to which they have spent decades dedicating themselves. This striving for something new and different could be seen not only as a rare point of overlap between all these bands, but also as the juncture from which HIGHNESS acts as a conceptual extension. Guitarists Brent Eyestone and Graham Scala knew that they had a creative affinity rife with unexplored potential, even after several of their projects had come grinding to a halt. Both were familiar with vocalist/guitarist Eric Richter’s previous work and were eager to incorporate somebody with such a strong predilection for a memorable melody. When drummer Ryan Parrish became available after departing DARKEST HOUR, the choice to bring on board so talented a creative force required no second thoughts. And, when HIGHNESS needed a bass player a week before entering the studio to record Hold, Brandon Evans not only learned all the material, but through his unwavering opposition to predictability took the songs in directions not even imagined by the members who had written the songs in the first place. This seamless intermingling of eclectic approaches and desire to constantly challenge both the listener and themselves render HIGHNESS‘ music a compelling listen. There aren’t many albums on which the metallic dirge of a song like “Crepuscular Rays” could exist alongside an instrumental as delicate and ethereal as “Forking Paths,” and fewer still that could be bookended by material alternately as triumphant and melodic as “Gaea” and as eerie as “Shroud” without sounding like some forced mélange of surface-level aesthetic signifiers. But on Hold, these elements not only co-exist but inextricably wind themselves around each other, with the stark contrasts acting as a cohering force and as a catalyst that pushes the music ever forward with each sonic detour, distilling a wide variety of underground music’s already-potent strains into a singular and powerful, yet multi-faceted and eclectic whole. This sort of seemingly contradictory approach acts to underscore how notable HIGHNESS is – their work is experimental yet accessible, cerebral yet visceral, familiar yet disorienting. The members’ background in widely varied manifestations of independent music – nearly a century worth of combined total experience – is readily apparent both in the array of sonic devices employed and the deftness with which they’re combined into a unified whole. Ultimately, Hold isn’t simply an album but a journey, a defiance of artistic stasis in pursuit of something larger and more transcendent, something indebted to the past without attempting to remain immured in it, and something genuinely affecting to which a large and widely-varied audience could very easily latch on and remain adhered. Magic Bullet Recs. 1st order gets COLOR vinyl! Learn More
  3. YES SENSEI- "3 Songs" 7"EP

    YES SENSEI- "3 Songs" 7"EP


    Yes Sensei continues to hammer away with their bombastic, noisy post punk that channels the influences of Sonic Youth, Unwound and The Minutemen. Three brand new songs packaged in lime green silkscreen card stock cover with hand sewn lyric booklet. This is limited to 300 pieces and is co-release with our friends Thomas and Hannah at RUSSIAN FOLK STORIES whom all folks from Europe should order their copies from. Pressed by Musicol. Covers screened by the band and inserts made by Russian Folk Stories. Artwork/layout by Justin Derosa. Photography by Patrick Oehler. Last copies from Rok Lok! Learn More
  4. PEDRO THE LION- "Phoenix" 2XLP (Seafoam w/Etched)

    PEDRO THE LION- "Phoenix" 2XLP (Seafoam w/Etched)


    Pedro the Lion has always been David Bazan, but it took a long time to get back there. In August 2016, during what he now recognizes as his lowest point, Bazan was touring the country alone in an aging minivan and found himself in his hometown of Phoenix, AZ. In need of a break from the road, he spent a night off at his grandparents’ house instead of driving on to San Diego. Before leaving town the next morning, after realizing that even the most familiar places can become unrecognizable, Bazan gave himself the gift of a quick detour past the house he grew up in, and on the way, experienced a breakthrough - one that would lead him both forward and back to another home he had built many years before. From the beginning, Pedro the Lion didn’t work like the bands Bazan had played drums in, where each player came up with their own parts. Instead, like scripting scenes of dialogue for actors to play with, Bazan recorded and arranged all of the skeletal accompaniments for his obsessively introspective lyrics and spare melodies. Each player would then learn their parts and, together as a band, they brought the skeleton to life. While bandmates played on a few recordings, Bazan often played all or most of the instruments himself. “I found so much joy working this way,” Bazan remembers. “It came naturally and yielded a feeling and a sound that couldn’t have existed by any other process. At the same time, I was also aware that not everyone wanted to play in a band where the singer wrote all the parts and might perform them on the record. Someone even suggested it might not be a valid approach to having a band in the first place. Being insecure and wanting to find camaraderie, I became conflicted about my natural process.” By 2002, after recording Control, the high rate of turnover in the band finally caused Bazan to ditch his “natural process” in favor of a collaborative writing process. When, after a couple more years, this move did nothing to stabilize turnover, Bazan was perplexed. In November 2005, Bazan decided to stop doing Pedro the Lion altogether. Ironically, Bazan didn’t see “going solo” as a chance to revert back to his original process of writing and playing all the parts. For the next decade Pedro the Lion felt off limits, even forgotten, like a childhood home Bazan had moved out of. He pushed forward with releasing solo albums & relentless touring in living rooms and clubs, through every part of the US and beyond, sometimes with a band, but mostly on his own. It took a toll on his family and more acutely on himself. By the summer of 2016, he still hadn’t found the personal clarity or the steady collaboration he’d been seeking and was at the end of his rope. “I had abandoned my natural way of working in the hopes of creating space for a consistent band to write with...and it hadn’t worked. So I got a rehearsal space, mic’d up drums, bass, and guitar, and really leaned into my original process again. It immediately felt like like home. Before long I realized it also felt like Pedro the Lion.” In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix, the first new Pedro album in 15 years. The songs themselves are the result of mining your past for who you are now. On opening track “Yellow Bike,” Bazan encapsulates a core ache he’s been exploring since 1998’s It’s Hard to Find a Friend with the line: My kingdom For someone to ride with Phoenix also deals with having to be better to yourself in order to be better to others on “Quietest Friend,” and harkens back to Control’s “Priests and Paramedics” with a story about EMTs facing a gruesome scene, and storytelling as coping mechanism, on “Black Canyon.” It bears witness to both what was around and what was inside, with the signature kindness and forgiveness that lightens Pedro the Lion’s darkest notes. The result is a twisting, darkly hopeful introspection into home and what it means to go back, if you ever can. It is rock and roll wrapped in tissue paper, its hard edges made barely soft. Every melody is careful, a delicate upswing buoyed by guitar lines that hold each tender feeling together like string before ripping them apart to see what’s inside. It is an ode to the place he still loves despite how alien it can appear to him now. It is the story of a life from the beginning, but not a linear one. This life is a circle, and Phoenix goes back to that first point, to show that when we are looking for home we’ll eventually run into it again, whether it’s in the desert, in a rehearsal space, or on a stage. ON SEAFOAM COLOR 2XLP, with E-TCHED D-Side in Gatefold Jacket! Learn More
  5. CHILTON- "Little Birds" LP

    CHILTON- "Little Birds" LP


    CHILTON is coming straight from the heart center, stripped down high energy, combining the elements of rock, surf, punk, our higher selves and a touch of math where it makes sense. With the agenda to question all levels of information in order to be your own best authority, the music is our medium! CHILTON is a new band out of Brooklyn, NY started by Josh Carothers of cult thrash bands (IFARM / EARWORMS). When Earworms disbanded in 2017, Josh made a call to good buddy BILL Stevenson of the pioneer punk bands (BLACK FLAG / DESCENDENTS / ALL) and asked if he would join in on making some music as one of the guitarists, not the drummer. Bill said yes and the energy was in motion! After writing 15 demo tracks, then whittling them down to 8, Josh reached out to Neil Halpin (Earworms/The Shemps, Last Throes) and asked if he'd be into moving forward with this new project: a bit more 4 on the floor skate rock. Neil jumped in. Josh met Devin Hoff and knew he could get the rad out. Devin was able to record half the album with us before he was summoned to work out of town. Neil picked up the bass and finished what was left. Josh flew out to Colorado at the end of 2017 to record basic tracks with co-owner of the Blasting Room, Jason Livermore, and show Bill the songs. A year later, Josh flew back to Colorado to mix with Jason. Pressing info: 220 on Black vinyl. LP comes w/ download code. Release date: 7/5/2019. Learn More
  6. TILTWHEEL- "The High Hate Us" CD

    TILTWHEEL- "The High Hate Us" CD


    The newest TILTWHEEL album! Their first album in 10 years! A lot of re-done songs from recent splits. Album of the year 2010! Get it, you fool. The power of myths is that they couldn't have happened, but did. Charlton Heston, in Planet of the Apes, parted a sea, found New York destroyed, then cried. In Goonies, those kids found out that the true pirate treasure was the gold in one another's hearts. In Gremlins, if you eat and drink after midnight, you get cranky and tend to blackout after something's been smashed up-like a liver, a table, or a relationship. With Christmas, a fat man you don't know but is awful friendly gives you a present you'd been praying for.Some said it couldn't be done. That it'd never happen. It's been the better part of a decade since the last Tiltwheel full-length. If Dillinger Four had their Civil War, Tiltwheel was fighting their own personal Vietnam. Go look in a mirror and point a finger at that. Is your shit ultra-tight? Is everything in order and makes sense? No fucking way. So why should anyone demand a group of dudes to perform on your tight-ass, time-as-cancer schedule? Don't yell at glaciers to hurry up. Don't expect life to be anything less than full of injustice, bad decisions, bad health, unfairness, inequalities, and the death of friends. Take time to savor a clear and honest DIY goodness. Eleven songs of pure dynamite, the type of dynamite that cleared the way for the Hoover Dam. And that's still generating power seventy-five years later. RIYL: A world that without cops, whiskey in drinking fountains, twelve pack cartons used as slippers, Battalion Of Saints, Tanner, David Allan Coe, insomnia, the sound of laughter when asked "When's the next record coming out?", mowing a lawn when it doesn't need it, but your parents love that wheel pattern it leaves in the grass, when "socialism" means that Propagandhi's beer is everyone's beer, clowns doing cannon balls. Learn More
  7. CAVE IN- "Anchor" 7"

    CAVE IN- "Anchor" 7"


    Limited quantity available - Limited edition single from Boston legends by-way-of-Hydra Head Records band Cave In. Songs taken from their RCA debut "Antenna". (1st order gets Blue vinyl!) Learn More


    Regular Price: $5.00

    Special Price $2.00

    2 Rough and melodic pop-punk bands team up to tear ass on this piece of 7" vinyl. Warm Needles hail from Long Island, NY and Costanza from Chicago, IL. A fine split by Tour Van Records. First order gets color!* Learn More
  9. WHATEVER BRAINS- "Saddle Up" 7"

    WHATEVER BRAINS- "Saddle Up" 7"

    Regular Price: $4.00

    Special Price $1.00

    Weirder, manic-er garage pop. Bull City! Learn More
  10. WARSONG- "Control" LP

    WARSONG- "Control" LP


    After leaving their mark on three continents, Zaragoza, Spain’s WARSONG are traversing previously uncharted territory with their first release sung entirely in Spanish. I’d be hard pressed to find a current comparison because WARSONG has few musical contemporaries- they are truly carving out their own path. I hear the convergence of diverse elements such as THE ONLY ONES, early NEW ORDER, the WIPERS, SONIC YOUTH, and THE RAMONES blended up and spewed out against the neoliberal end times.

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