Touch & Go

Shellac record number 16, The End of Radio, is comprised of two previously unreleased BBC Radio Peel Sessions. The 1994 session was recorded at BBC Maida Vale Studio 3 and originally aired on John Peel's BBC Radio One show in July of 1994. The four songs

Born in 1981 in Detroit, Negative Approach were the undisputed champs of Midwestern hardcore in the early to mid-1980s. Led by John Brannon's hoarse wail, with OP Moore on drums and brothers Rob and Graham McCulloch playing guitar and bass respectively, t

In October of 1999, Nina Nastasia recorded the album that would finally document her well-seeded career as a local singer-songwriter in New York City. It was exemplary of Nastasia’s style, delicate string arrangements, the restrained beauty of her live b

Born out of the early 1980’s Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn’t want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone g

Originally released in 2004, TV on the Radio’s debut album is nine songs about (in no particular order) — discordant living, misrepresentation, how nothing nothing can be, life, afterlife, love and love “after hours.” These are pop songs. These are rock s

Originally recorded by Steve Albini and released in 1989, Slint's debut album "Tweez" has been remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. "Slint formed in 1986 as an outlet and pastime for four friends from

This is Shellac’s fifth LP. Recording took place sporadically over the past few years at Steve's ELECTRICAL AUDIO studios in Chicago. The record was mastered by Steve Rooke at ABBEY ROAD. There is no comma in ‘Dude Incredible’; like Sir Duke or King Frid

This is Shellac’s sixth studio LP. Recording & Mixing took place at Electrical Audio in Chicago over a bunch of long weekends in November, 2017; October, 2019; September, 2021; and March, 2022. The record was mastered by Bob & Steve at Chicago Mastering S

At first, this sophomore album from New Yorker Nina Nastasia, with her reedy girlish drawl, sounds merely appealing, like nice background music--but that impression lasts for about a minute. The strings (Dylan Willemsa's viola) conjure John Cale, and the

A head-splitting jolt of relentless anxiety, frantic paranoia, concussive racket, and oddball frenzy, The Jesus Lizard’s Goat became an instant indie-rock landmark upon its 1991 release. Instigating, cutthroat, and snarling through broken teeth, it became

TV On The Radio's story is one of synchronicity, of serendipity, of epiphany. TVOTR began with Tunde Adebimpe (vocals) and David Sitek (multi-instrumentalist and production kingpin) being roommates, drinking way too much coffee, making art: comics, movies

Big Black was started by Steve Albini in 1982 while he was living in Evanston, Illinois, and attending Northwestern University. Contrary to popular belief, Big Black was not Steve's first band. Prior to forming Big Black, Steve was in a band called Just D

By the time The Jesus Lizard released Down in 1994, alt-rock had long exploded and penetrated the commercial mainstream. Despite being a hair more subdued than the noise-rock band’s previous releases, the still-manic Down didn’t break through, but unlike

The Jesus Lizard’s full-length debut announced the arrival of a band whose uncompromised approach, visceral tension, and scathing commentary would redefine the American underground. With the addition of drummer Mac McNeilly, the group’s initial EP featur

When director Travis Stevens called about composing music for his new horror film, Steve Albini (Shellac) found himself with a new creative challenge. After meeting with Stevens and Greg Newman from Queensbury Pictures, Steve signed on and recruited Tim M