Truman's Water - (1993) Godspeed The Static LP

The first of four similarly titled releases over a two-year period, 1993's Godspeed the Static is Trumans Water at their loosest and most formless. Seemingly recorded live in the studio, these four meandering jams have individual moments that are quite interesting -- a lengthy chunk of "Kick Penmanship" is taken up by a clanging, staccato guitar riff and stuttering snare drum, sounding like some sort of bizarre cross between the Nihilist Spasm Band and Spike Jones & His City Slickers -- but they're so completely shapeless and random that they defy the attention spans of even the most dedicated noise rock fans. Conceptually intriguing but a bear to listen to (particularly the endless closer, "California Lies," which includes what sounds like a battery of violins in the hands of mentally challenged grade-school students), Godspeed the Static is only for the most die-hard noise freaks.

Golden Triangle & The Fresh & Onlys - (2010) Split 7''

Golden Triangle and The Fresh and Onlys just release a new split 7". Really dig-able. Golden Triangle's got this groovy Jesus and Mary Chain/Sonic Youth punk rock swirl going on, and The Fresh and Onlys are great San Fran lo-fi garage pop.

The Fresh & Onlys - (2010) Laughter Is Contagious 7''

The best psyche pop should always sound more intriguingly nightmarish than dreamy, and triumphantly this slab o' wax had me doubling my therapy sessions!

The Fresh & Onlys - (2010) Witchy Woman 7''

The Fresh & Onlys started out as a collaboration between frontman Tim Cohen (Black Fiction) and bassist Shayde Sartin, who started putting songs together in 2004. The Fresh & Onlys' lineup eventually expanded to include Kyle Gibson, Wymond Miles, and Heidi Alexander (who soon left the band); drawing from a hodgepodge of influences (among them Buzzcocks, the Mekons, and Country Joe MacDonald), the new lineup arrived over time at a grimy yet sunny pop sound along the lines of Saturday Looks Good to Me and Welcome with plenty of garage rock mixed in.

The Fresh & Onlys - (2010) Vanishing Cream 7''

Things get psychedelic in a more intensely tripped-out (and Sublime Frequencies DVD) way in the EyeBodega-directed clip for “Vanishing Cream,” a new song from an upcoming 7″ being released by the French label Plastic Spoons. One thing you might notice overlapping between this and the last one are a series of oracular/mystical triangle and diamond shapes.

The Fresh & Onlys - (2010) Impending Doom 7''

Another total winner from the Agitated stable, and two blasts of wild pop from San Francisco's finest purveyors of said genre THE FRESH & ONLYS. “Impending Doom” is the band’s their first UK release, and ties in with UK shows, ATP etc. Both tracks highlight the bands abilities in creating pop music thats skewed yet perfect and both are also exclusive to this release. UK import.

Coasting - (2010) Same Old Same Old 7''

Brooklyn's cheery, shambolic, noise-fucked surfcore kiwi-punks Coasting they were new, they were nervous, and they were recording their songs on a laptop plopped on a couch. Since then they've released a wealth of well-received cassettes and 7"s, drummer Fiona Campbell has become a fulltime Vivian Girl and--well, some things never change. Their brand new 7" (out via M'ladys) is as lo-fi as ever, featuring fabulous a-side, "Same Old Same Old." The track is a cheery blowout where "Wipeout" meets the Ronettes under Reverb Boardwalk. But the disc's real charm comes when you turn out the lights--the record glows in the dark! "United in Nashville had just finished making that weird Triple Decker record for the Dead Weather--you know the one with the 7" inside the 12"? And they had all this glow in the dark compound left over from that," says drummer Fiona Campbell. "Good timing I guess, and lucky for us, it's so pretty! It's this mint green, and the paper stock for the art work is sheer so you can see it even when it's in the sleeve. It lights up the artwork."

Coasting - (2010) The One We Both Like 7''

Coasting is Madison Farmer on guitar and Fiona Campbell on drums, a female duo out of Brooklyn via Arkansas and New Zealand, respectively.  The three tracks on their debut 7” are energetic, fun, and ripe for summer, and showcase the band’s style—a little bit surf, modernized for the 21st century with a healthy dose of reverb, and a little bit ‘90s.  A friend of mine once referred to Coasting as “riot srrrf”

Coasting - (2010) ST 7''

Coasting is Madison Farmer on guitar and Fiona Campbell on Drums. Madison also plays in Dream Diary and Fiona plays in Vivian Girls. Coasting is their collaboration. Super raw, but with stadium sized drums, the A-Side holds instrumental scuzz surf inspired Coasting? and the B-side holds Hot for Teacher.This 7-inch was recorded in a school cafeteria in the Bronx.

Fungi Girls - (2010) Owsley Knows 7''

Fungi Girls are three high school kids from Texas. They’ve released records on Hozac, Play Pinball and Psychic Lunch. For their Group Tightener release, the trio recorded twin bursts of catchy garage-psych that will force its way into your brain and probably chill there for months and months. Throw it in the jukebox and drop the quarter in…over and over.

Fluffy Lumber's - (2010) Harry Dolland's 7''

Following on his debut Weird Hug-released 7", "Police Cruisers", New Jersey's Fluffy Lumbers has a second release on the way, via Group Tightener, called "Harry Dolland's", and we've got the very lo-fi, reverb-streaked A-side for you (as well as parts one and two of "Cruisers" in case you've forgotten).

Alex Bleeker - (2010) These Days 7''

Alex Bleeker, who you may also know from Real Estate and Alex Bleeker and the Freaks. You may also know him as an awesome dude. Whatever the case, this record is perfect to jam out in the early days of Summer (or any other season you might feel like putting it on).

Badaboum - (2015) ST LP

Badaboum, french all-star girl group includes Krine (Headwar), Armelle (The Dreams) and Solene (Dudu geva) and is affiliated to the famous Grande Triple Alliance de l'Est posse (Ah Kraken, Feeling of love, Scorpion Violente). They play a form of post punk music akin to Liliput/ Kleenex and Malaria adding their own reverbed idiosyncracies and eerie organ lines, chanting in indecipherable italian, mock german and plain french. Taking turns on drums and blowing thru severed reeds, Badaboum will bring you as much joy as chaos and spook.

Jack Nitzsche - (1984) The Razor's Edge LP

Somerset Maugham's Larry Darrell (Bill Murray) goes from World War I to a coal mine to the Himalayas seeking inner peace.

..the privilege of being alive..

Joe Delia - (2014) Ms.45 LP

Like Abel Ferrara, Death Waltz Recording Company are not prone to shying away from the more extreme corners of culture, and are delighted to be presenting a true underground classic for the first time ever. Ferrara’s pictures often tread the line between grindhouse trash and art-films with insightful social commentary – and unflinching realism – and MS. 45 is his most notorious film, with much of its power coming from Joe Delia’s grimy yet haunting music. A sparse piano motif initially creates a lonely voice for the (mute) heroine but it’s overshadowed by wailing trumpet, electric guitar, and menacing synths that paint a disturbing musical picture of the world she inhabits.

Delia’s music is so great at creating a vivid image in your head and you begin to imagine the grubby streets, the sleazy sex-shops, the leering onlookers, with it building and building until it reaches sensory assault. The instruments sound as violent as the acts on screen, as loud synth stings ring out like gunshots, edgy jazz beats unnerve you, and a repeating brass motif becomes a theme for violence and vengeance – even during the awesome ‘Dance Party’. You may need a shower after listening, but you’ll be right back to play it again and again

Incredibly this soundtrack has NEVER been released in any format, we went back to the original master tapes and worked with composer Joe Delia to clean up the original elements.

Fuck off! You heard me get fucked! Get bent.

John Carpenter & Alan Howarth - (2013) They Live LP

Grab your sunglasses, your bubblegum, and your shotgun as Death Waltz Recording Company is bringing back John Carpenter and Alan Howarth’s brilliant score to THEY LIVE. A classic story of one man fighting for the freedom of the world with a great science fiction twist, the movie is full of amazing dialogue and also contains the greatest fistfight in the history of cinema. Like most of Carpenter’s films, THEY LIVE has an urban western feel to it, which is emphasized by the infectious score.

Carpenter and Howarth’s main theme conjures up images of a lone cowboy entering town, with the main melody augmented with the sounds of harmonica and saxophone. There’s a carefree attitude which reflects Rowdy Roddy Piper’s character, but the score takes on a more sinister tone when he realises he doesn’t know anything about what’s really going on. Carpenter’s signature synth tones create an uncomfortable atmosphere, but the main bass line is always fighting against them, never giving up. Electric guitar is used fleetingly, but brilliantly, and the whole score embodies the kind of rebelling against authority Carpenter is famous for. THEY LIVE will rock your world without the need for a Brazilian plastic surgeon to put you back together again.

Put the glasses on! Put 'em on!

Michael Gore - (1984) Music And Dialogue From The Motion Picture Terms Of Endearment LP

Widow Aurora Greenway (Shirley MacLaine) and her daughter, Emma (Debra Winger), have a strong bond, but Emma marries teacher Flap Horton (Jeff Daniels) against her mother's wishes. When the marriage grows sour due to Flap's cheating, Emma eventually splits from him, returning to her mother, who is involved with a former astronaut (Jack Nicholson). Soon, Emma learns that she has terminal cancer. In the hospital, supported by Aurora, she tries to make peace with Flap and her children.

Grandma, Grandma!

Ralph Jones - (2014) The Slumber Party Massacre LP

Death Waltz Recording Company would like to extend to you a very special invitation: a first-class ticket to THE SLUMBER PARTY MASSACRE and its energetic electronic soundscape. Ridiculed on release but later celebrated by some as a feminist parody of slasher films, the picture is fueled by Ralph Jones’ synth score that remembers the first rule of comedy: never let the audience know you’re in on the joke. Away from the film, the music retains a sense of wit and playfulness amidst the tension that makes it a riot to listen to.

Jones’ score wears its influences on its sleeve, with nods to the giants of the world of musical horror – JAWS and HALLOWEEN – as well as a more gothic sensibility, with parts sounding like they should come from an electric organ in an ancient cathedral. He ramps up the tension using rhythmic pulses and atmospheric electric piano, with shrill background parts that sound like a field full of electronic crickets. And his talent for creating catchy melodies is certainly demonstrated here, with not only upbeat and bouncy tones but also haunting motifs that make you uncomfortable with the greatest of ease. Another synth spectacular that will guarantee you have a great time, whether you’re slumbering, partying, or massacring.

'Pizza. Delivery.' What's the Damage? 'Six... So far.'

Sigur Ros - (2015) Von 2xLP

The heaps of praise during 2000 surrounding 1999's Ágætis Byrjun brought surprisingly little attention to Sigur Rós' first record, released in 1997. Remaining available only through the band's Icelandic label, it took some effort to obtain, but those who did get a copy probably found it to be just as adventurous as Agætis. Though darker and more fractured than the string-laden nooks of the follow-up, it's just as sprawling and outright bombastic. It's remarkable that such a young band would be this experimental at this stage in their lifespan, but the sheer breadth gets to be an albatross. Poking fun at '70s prog rock is just as easy as shooting at cement gargoyles on a suburban rooftop, especially when you're an indie kid or a fan of post-rock. But Sigur Rós makes Yes look like the Minutemen. Whittled down to 40 minutes, Von would be considerably more effective than it already is. As a mood setter, the 10-minute opening track really takes about three minutes to do what it needs, and a few other spots seem to drag on for the sake of sucking time. That doesn't prevent Von from being impressive, veering from Gavin Bryars-style aquatic minimalism to My Bloody Valentine-style dream pop. Varying states of isolationist ambience run throughout, whether evoking unrest or tranquil rest. You can practically envision a stray headboard floating through the Sinking of the Titanic-type passages, and the lush "Myrkur" comes from a planet where MBV's Kevin Shields and Kitchens of Distinction's Julian Swales are accorded the level or worship that Earth gives to Hendrix and Clapton. And then there's that voice, one of the most distinctly unintelligible voices since the Cocteau Twins' Liz Fraser. Boy? Girl? One would be hard-pressed to guess without liner notes. Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.