We've got tons of new stuff to tell you about… A new singles collection from Ty Segall on Drag City, the jaw droppingly brilliant new album from Espectrostatic on Trouble in Mind, a new offering from Ariel Pink on 4AD, psych-rawk bliss from Blown Out on Riot Season, Chris & Cosey Reissues, Swans Fitlh reissue and loads more amazing sounds!
Check out this awesome event:
Our pal Dan is organizing the 2nd Annual Bottle Hop at The Empty Bottle on December 12th. The Congregation, The Tenders and The Chandelier Swingers will all be playing old school rock n' roll all night long and a portion of the proceeds will be donated to the Greater Chicago Food Depository! There will be gifts and giveaways as well!
More info can be found here:
Facebook event page:
Empty Bottle show info:
GCFD virtual food drive:
Here’s the haps round the shops!
Thanks to the Scotch Apostles for rockin' the LA shop on Saturday!
Big Pig will be dropping by the Los Angeles shop on Saturday, November 29th at 6:30 PM to provide the evening jamz! Come one, come all!
Permanent Records Chicago is DJing both nights of Thee Oh Sees doubleheader at The Empty Bottle on Tuesda, November 25th and Wednesday, November 26th! Jack Name and Running are also playing both nights! We'll be in the back manin' the booths! Come say hi!
All in stores are always ALL AGES and FREE!!!
And just like every week, P-Rex Los Angeles DJs continue to FEED THE FREAKS !!!
Here's the general info on Feed The Freaks:
"Every Wednesday. Black Boar - 1630 Colorado Blvd. 10-2am.
Rock'n'Roll Partytime! With Lance Bummer and Special Guests.
Drink specials. Excellent adventures, only. Absolutely, no bogus journeys.
WE'RE ALWAYS BUYING USED LPs, 7"s, CDs, and DVDs!
Running out of room, need to clear some space, going on the lam? Regardless of the reason, before you unload your unwanted records and digital media, please bring them to us for CASH or STORE CREDIT! One man's trash is another man's treasure and we treasure all sorts of quote un-quote trash! Before you donate your stuff or have a yard sale, drop us a line. We'll probably pay more (without haggling) than you'll ever get at a garage sale and often times we'll buy it all in one shot. It doesn't get much easier that! So remember, when you wanna sell your stuff, SELL IT TO US! Please and thank you!
P.S. We make house calls for collections. Drop us a line to make an appointment.
We're taking pre-orders for the following titles:
LP - Nick Cave And The Bad Seeds - From Her To Eternity - Reissue - $22.99
"The fact that Nick Cave opened his new outfit’s first album with a cover of a Leonard Cohen song, the delusional visionary brooding of "Avalanche," was a sign that he had moved in for good to what Cohen would later call ‘the tower of song’. Cohen’s original had appeared on Songs of Love and Hate, an album whose title sounds like a manifesto for Cave’s solo career.
The narrative art that Cave had begun to master in the later days of The Birthday Party flourishes on 1984's From Her To Eternity, in the sick humor of "Wings Off Flies" (in which a lovesick protagonist plays ‘she loves me, she loves me not’ with an unfortunate insect), and "A Box For Black Paul" (an examination of whose demise could possibly be interpreted as a funeral inquest for The Birthday Party), and the cautionary Mississippi tale of "Saint Huck" who ‘trades in the mighty Old Man River/ For the Dirty Old Man Latrine’.
Cave had first explored an American South of the imagination in "Swampland"; but if some lyrics showed Cave the Wild Colonial Boy in a psycho-geographic realm that had previously intrigued other non-Southerners (for example, Canadians Neil Young and the Band’s Robbie Robertson), musically From Her to Eternity sounded like nothing ever heard hitherto.
Blixa Bargeld (recruited from the Berlin experimentalists Einstürzende Neubauten, who were more associated with chains and pneumatic drills than conventional instruments) plays the guitar like someone who had never seen this strange six-string thing before. “I don’t really think he knows how to play in the conventional sense at all,” Cave enthused at the time, “he just makes these incredible sounds”. Mick Harvey’s unique abilities as an arranger sculpted the sound into something that was as expressive as it was violent.
The album’s high point is its title track in which sound and imagery come together to create an extraordinary emotional rawness, that hint at what was to come much later on the stark, lovesick vistas ofThe Boatman’s Call. Cave was always reluctant to discuss the real-life background to "From Her to Eternity" although he did rather invite the questions by putting his ex-girlfriend Anita Lane (who shares co-songwriting credit for the song) on the cover. The song’s protagonist, twisted with jealousy watches the plaster of his ceiling turn into coiling serpents as he strains for the sounds of his departed love in the room above ‘I know it might sound absurd,’ sings Cave, ‘but I can hear the most melancholy sound I ever heard’.
Although From Her to Eternity was recorded in the UK at Trident, Berlin was part of its sonic makeup, not least in the contribution of native Berliner Blixa Bargeld, as was Southern Blues, although this influence is more explicit in the follow up album, The Firstborn Is Dead. And out of the ashes of the Birthday Party, some scratched old records by southern bluesmen, and the last days of the divided Berlin, something new was born." - Mute
LP - Nick Cave And The Bad Seeds - Kicking Against The Pricks - Reissue - $22.99
"1986's Kicking Against the Pricks was actually a holding device. Following 1984’s From Her to Eternity, the Bad Seeds recorded The Firstborn is Dead in the final two months of that same year; but because Bob Dylan’s lawyers made them wait months for clearance to include “Wanted Man,” the album wasn’t released until 1985. Due to a lack of new songs and as Cave was in the middle of writing his novel And The Ass Saw the Angel, a covers album looked the thing to follow up. If intended as filler, or a scene setting for what was to come; it became much more. It moved Cave on, freed him up, let him loose on stuff that frankly rocked, in a deathly way, and broke him into a much wider audience. And it happened because Cave kept walking deeper into the American heart of darkness.
In the mid-80s, the States weren’t cool; you had Springsteen, Mellencamp, Madonna and Top Gun. For Cave, that didn’t exist; he reached back to the America of Cormac McCarthy’s Blood Meridian, a Southern Gothic wild west of swampland and twisted religion, of extreme good and bad, a place of chaos. Not Cave’s roots, but that doesn’t matter, it’s always really your own story whatever background you choose. Cave happened to be working through a broken-down relationship, and working out his mounting dislike of music journalists. “Kicking against the pricks” is a biblical lift, referring to an ox kicking in irritation at the sharpened rod – the goad or prick – used by the driver when tilling soil. It would seem there were plenty of goads and an abundance of pain to deal with.
The album finds its feet for the first few tracks, starting to hint at what it wants with John Lee Hooker’s “I’m Gonna Kill That Woman,” which moves from loneliness and desolation to fury and retribution. But nothing prepares the listener for track five, the point of no return: a cover of Tim Rose’s masterpiece “Hey Joe.” Against the tightening noose of Hugo Race’s Morricone-style guitar, Cave delivers a western vendetta. Forget Hendrix’s version, a clutch of blues riffs: now, as the hair rises on the back of your neck, you see a man striding inexorably down a dirt road to shoot his woman, see the blood in the mud, feel what it takes to do the job.
You’re not over that and you get “The Singer.” When Johnny Cash delivered this, it was the guitar man in black. Here, astonishingly, it’s something else entirely. Cave speaks the words of a cynical, dusty-booted loner once hosanna-ed, now rejected – ‘I pass a million houses but there is no place that I belong… All the truths I tried to tell you were as distant to you as the moon’ – and you grasp that this is the first time Cave talks about a Christ figure, really talks. Naturally: it’s an album of outlaws, and Jesus was one of the biggest.
In the rakish “All Tomorrow’s Parties,” a clutch of mates raucously ask themselves what she can wear, poor deluded cow, for the rubbish future she was fool enough to pick. A shoulder-shrugging “By The Time I Get To Phoenix” allows Cave to fantasize that he’s the one who left. This is vindictive cabaret, with a snare drum, organ and jazzy cymbals, and a mirror-ball to highlight female tears.
But “Something’s Gotten Hold of my Heart” drops the act, adding deep layers to Pitney’s exultant original, singing the words of a happy, happy man whom we know is really on his knees. Cave’s voice is youthful and raw; when he talks about the ‘beautiful land’ that he’s found, says how he wants her to stay, ‘all of my nights, and all of my days’, the yearning and regret are tangible and the Bad Seeds’ faultless delivery, balanced between irony and heartache, help Cave outline his picture of ideal love." - Mute
LP - Nick Cave And The Bad Seeds - The Firstborn Is Dead - Reissue - $22.99
"The second Nick Cave & The Bad Seeds album was recorded in late ’84 at Hansa Studios in Berlin. Co-produced by Flood and the band, it was rich with references to the blues and bluesmen, the American South, and especially to Elvis Presley. Its striking title was a nod to Jesse Garon Presley, Elvis’ stillborn identical twin. Cave seemed to be wondering whether The King, deeply conflicted, had suffered from survivor guilt, both at birth and in later years. “On those last concerts,” Cave also once observed of Elvis “just before he died, you see a man who fought an incredible struggle with life. It’s one of the most brutal things ever captured on film. In those pictures, it has a unique glow of heroism.”
There was something uniquely heroic, too, about The Firstborn Is Dead, one of the most brutal things ever captured on record. If its predecessor, the debut From Her To Eternity, had introduced us to a new howling wolf, here was a sly fox whose antipathy towards conventional vocal stylings and formulaic song formats invented a fresh vocabulary. Eschewing cliché, the album roared with pain and anger, rang out with the wit of a natural storyteller, and blossomed with the vitality of romance.
Cave himself had recently moved to Berlin. “I’m not really sure why, but it seems to offer just about everything that London doesn’t”, he told Melody Maker. “The people there have drive and imagination and spirit.” These are qualities the album certainly possesses in droves, while Cave’s musical associates overflow with them. Inventively accompanying Cave’s voice and harmonica are the matchless and loyal Mick Harvey on piano, drums, guitar, organ, bass and backing vocals; the enduring legend that is Barry Adamson on bass, guitar, organ, drums and backing vocals; and the true one-off Blixa Bargeld on guitar and backing vocals.
“Tupelo,” entering with thunderclaps and lightning bolts like R. Dean Taylor’s last will and testament in “Indiana Wants Me,” makes an unforgettable opener (and an arresting single). Tupelo was of course the birthplace of Elvis. The song is loosely based on John Lee Hooker’s “Talking Blues,” which tells of a great flood arriving. Cave’s reading – “Looka yonder! A big black cloud come!” – factors in the birth of Elvis (and twin) and the equally apocalyptic Second Coming of Christ. It was not his first (or last) use of Biblical Old Testament imagery. It may be the first and last time an Elvis-as-Christ theory has been so passionately yet ambivalently explored and expounded.
“Say Goodbye To The Little Girl Tree” sees a man wishing the young girl he loves could stay forever young. It’s not a murder ballad as such, but a suicide ballad, as the narrator finds the best/only way out of the quandary. “Knockin’ On Joe” adopts a term used by prisoners in the U.S. to describe the desperate measures some would take to avoid hard labor while serving time: damaging their own fingers, hands, legs, like hot-headed Cool Hand Lukes. “You can’t hurt me any more!” Like many of Cave’s most lyrical moments it touches on suffering elevated to transcendence, lifted to a state of cold-eyed near-Zen, self-mutilation as a pre-emptive strike.
“Wanted Man” takes an atypical Bob Dylan song (also recorded by Johnny Cash) and turns it from monochrome to multi-coloured. Improvising new words then frantically chasing them into almost every town in the States, the band burn it into a kind of rhythmic mantra; hypnotic, staccato, building and building, Cave’s hissing spitting voice ever more urgent as the music stutters and jerks. It remains to this day one of the greatest Bad Seeds bonfires. The prevalent blues motifs are to the fore again on “Blind Lemon Jefferson,” where Cave cleverly uses sounds to take us into Jefferson’s head in his final hours." - Mute
LP - Nick Cave And The Bad Seeds - Your Funeral...My Trial - Reissue - $23.99
"Your Funeral… My Trial sounds far more arranged than I remembered: things sound broader, deeper, from the very off, the title track waltzing in on this marvelous Al Kooper-ish organ swell like the sonic equivalent of ecclesiastical purple trim, one stitch in a quasi-hymnal sweep of glinting detail. The bass is monumental, but somehow ghostly. Hear how the singer stretches – lives in – the “here” of “Here I am, little lamb…” Might not the softest song in the world hail from the hardest nights?
"Stranger Than Kindness" has to be near top of my own personal Desert Island list of Cave works. Sheer dream of a timeless yet timely torch song, like yearning or wistfulness made sound, it feels lighter than air yet heavier than sin. Unique arrangement by Bargeld, sonic eddies like warm breath around your ear, discreetly framing Cave sermonising like Orson Welles in Huston’s Moby Dick. (I love the way he almost caresses the phrase “they journey, they loiter,” and, especially, “Tell me I’m dirty…”) Bargeld makes guitars sound like spray, spume or embers. A song you don’t need to be some delirious Nick Cave believer to believe in, to adore.
"Jack’s Shadow" trips on a deviously simple acoustic blues figure, the drums like guillotine fanfare, Bargeld’s electric slide summoning sheer sonic anxiety, the song itself like Mailer’s unwieldy Executioner’s Song compressed into the breezy allegory of Song. Jack has peeled off and must throw his demon away; Cave seems to be on the verge of reaching some kind of fruitful accommodation with his own. Where on previous works it wasn’t entirely clear whether he was in charge of his demons/obsessions, Your Funeral… My Trial now sounds like the watershed moment when a proper measure of artistic control was gained, to be subsequently built upon.
"The Carny" totters near the grimy ledge of self-parody – but the music is so delicious, so delicate and rich and properly arranged (and captures somehow such a depth of genuine sadness) it’s impossible to resist. This was the song Cave & The Seeds performed in Wenders’ Wings of Desire; although in hindsight it seems hard to think of Wenders and Cave in the same room, artistically – or more to the point maybe, theologically – speaking.
"She Fell Away" features one of my all-time favourite Cave lines: “Seems impossible to me now / But once the road lay open like a girl…” and the unfeasibly sublime "Sad Waters" has too many favourite lines to quote. At this distance, we may note how Cave is learning to sing, really sing, such lines. Hear, for example, the way he invests an almost throwaway, simple line like “Mary in the shallows / laughing” with such tenderness and ache. Something listening to this re-issue led me to notice is how saturated the whole album is with religious quotes, references, and overtones. It’s often so subtle you may not even notice – carnal devotion italicised in the syntax of heavenly worship, as here, where Mary’s honey body turns the “waters into wine”…
"Hard On For Love" may be the thumping-est thing Cave had essayed since the Birthday Party’s Junkyard O.D., its wired blood pounding somewhere between an unlikely Gospel and old favourite "Sonny’s Burning." Cave’s take on the Tim Rose classic "Long Time Man" sounds genuinely wracked, abject; listen to the way he sings “love” in the line “I haven’t had any love…” – this is why Your Funeral… My Trial sounded so striking in 1986 and why it does so again, today. Indie music for the most part still sounds all too homogenously jangly and sexless and metaphysically empty to me, as it did then; and Cave still sounds like a man consumed by devotion, doubt, love, need. He throws himself into song, as into something both forbiddingly holy and something seductively unclean." - Ian Penman" - Mute
EMPTY BOTTLE (CHICAGO) + PERMANENT RECORDS CHICAGO = FREE SHOWS.
WHEN YOU BUY A RECORD FROM PERMANENT CHICAGO BY AN ARTIST PLAYING AT THE EMPTY BOTTLE, WE CAN GET YOU ON THE GUEST LIST (WITH A FEW EXCEPTIONS).
Check the full list below and hit us up:
Thanks so much for taking the time to read these updates. It's really great to know that regardless of all the media hype over the past several years claiming that MP3's are taking over the world that tangible forms of music live on and this "industry" isn't as gloom and doom as they make it out to be. We're happy to be a store and a label and we hope that it shows. And not to end on a sappy note, but we just wanted to say we heart you guys and look forward to sending this update every week. If you like what you read here, please tell others. Spread the gospel, brothers and sisters!