[engl] "For many years, Tommy Marolda has been a versatile member of the American music industry: a multi-instrumentalist, producer, engineer, composer, Grammy-nominated songwriter...the list goes on. But record nerds like me know Tommy because of a single weekend in 1979. He was scheduled to record demos with the Smithereens in his New Jersey home studio, but their last-minute cancelation gave Tommy a small window to record something of his own. After three days of hitting the record button and dashing back to his instruments, Tommy had more than 30 slabs of pop perfection on tape, 12 of which became his seminal power pop LP 'The Toms'. Other tracks from that weekend session have trickled out via reissues of 'The Toms' over the years, but little did anyone know Tommy recorded enough material to fill up three long players! Presented here are the last of the 1979 Toms sessions. Savor them like the rare commodities that they are." -Scott Carlson, Tomologist

[engl] Finally the repress after the first edition was sold out the same day as it was released: comes with a slight different artwork and this time housed in a super heavy cardboard jacket. Undertones & Buzzcocks tinged teenage frustration rock n roll in 2 and a half minutes bring the timeless raucous pop punk heaven from this brand new combo on the Power Pop planet. The Reflectors are a 4-piece PowerPop/Punk outfit out of Los Angeles CA.

[engl] The long awaited 2nd album by Brighton´s craziest royal offspring. Instantly catchy and addictive buzzsaw UK three-chord-punky PowerPop on exactly 12 cuts. The two vocalists sing with equal measures of punk snottiness and sugary sweetness, including their unique call and response which makes the album to a true gem. But it evokes also the sound and spirit of early The Buzzcocks, The Clash and the Kinks. So a full packed ballroom where they share the stage with THE SPEEDWAYS, YUM YUMS and surely THE REFLECTORS could be a really funny international coronation at the royal court! Strictly limited pressing of 300 copies only.

[engl] Legendary UK Mod Punk band with a new 4 song EP. LONG TALL SHORTY… well-known for never standing still or to wallow in nostalgia. Always with a true passion to be different. Mississippi-Delta feeling with sunglasses and short trousers turns up by „Love In Vain“ – inspired during an early Monday morning hangover somewhere in Linz at the Rhine River. But by „Wish You Had Bled“ they take off the glasses, change again the short with the long trouser to make the usual noise with the typical pissed off lyrics by Tony Feedback. Completed with the splendid „I´m With Stupid“ from the last album as well the cracking „Turn It Up“ from their long out of print GIFFER record.! Strictly limited to 300 copies only.

[engl] After their sold out debut LP finally 2 brand new recordings from Nantes based ‘Post-Punk New Mod Sound“‘ sensation. THE GIFT displaying again grim Post Punk, Mod, PowerPop and Cold Wave moments by the means of JOY DIVISION or early THE CURE. Being intercepted within their hopeless desperation by the febrile unrest and atmosphere of departure of the 1979 Mod Revival to be finally canalised into magnificent two songs with a distinct vibe of their own. Limited pressing of 300 copies only.

[engl] L.A. songwriter Tracy Bryant released his third studio album just about a year ago and the first follow-up comes in the form of a limited single split between RSTB faves Six Tonnes de Chair (France) and Third Eye Stimuli (Aus). “Between Us” was cut during the sessions for Hush but Bryant notes that it didn’t fit with the album, and I’d agree. The melancholy tone of Hush isn’t as present in the sun-streaked pop bounce of “Between Us.” Instead there’s a sense of motion and crisp air. The song’s not jubilant, but its trading wistful for winking which seems like a natural fit for Bryant. Despite its studio sheen, the simple setup feels like it shares a bit of DNA with Cronin and Segall around their humble Trouble In Mind days. Bryant hangs the song on the strength of a hummable acoustic hook, sweater-hugged harmonies, and a the kind of natural saunter that endears a song almost immediately. With a lyrical smirk at someone’s know-it-all hijinks, the song is pretty relatable too.

[engl] LE VILLEJUIF UNDERGROUND are back, with a 2-song single out on the only home that will have them, Born Bad Records LISTENERS: THIS IS VILLEJUIF IN SURROUND SOUND HIGH DEFINITION! “Ghost Of The Water” , is a hallucination of alcoholism, from different shaky view points and sounds like a sci-fi space/opera Lee Hazlewood western if soundtracked by a collaboration between The UV Race/The Strokes 2001: Space Odyssey “Les Huitres a Cancale”, is a Kenneth Koch-like animal call to stalkers, and strangers out there on the lose in the “moi aussi” generation and rolls like an ageing Gainsbourg slow dancing on codeine, a druggy ballad for the tranquillised. And just when you thought the world of music had ended, Le Villejuif Underground is BACK from retirement!

[engl] "What can be said or done about 2020? Here at Bachelor Records we're sticking to what we know and diggin' in, while making every effort to stop and smell the roses, play more records, and take a moment for hindsight – like the year's numeric value suggests – with this trip down memory lane, on The Ar-Kaics' Ar-Kives: Volume 1 LP. Sidelined from touring (they were scheduled for another European endeavor) and recording their third full length because of a worldwide pandemic you might have heard of, The Ar-Kaics are staying home and finally getting around to doing the laundry. It's all here, and fresh as a summer daisy; all of the out-of-print, pre-Wick Records 45s, an early demo standout, and an inexplicably unreleased song from their self-titled album sessions are all on offer. Remastered loud for maximum rock'n'roll, but unlike the late and great rag of the same name, these songs are here to stay, in print! For those not yet indoctrinated, this fine selection of songs brings listeners up to speed on The Ar-Kaics' off-brand of spot-on 60s garage punk originals, something they've been channeling back from the grave and making their own for the better part of the last decade. Now, after no less than ten releases, it's high time to rollout a compilation album of the band’s singles, so you can enjoy these prime cuts without having to go to the record player and flip the platter or pull out the next single from the sleeve. In times like these it’s just nice to kick back and listen to these Virginia garage punk unknowns." Elmar / Bachelor Records

[engl] Famous for their freaked out ride down "Tobbaco Road" (included on the now legendary "A Fistful Of Fuzz" comp), Peabody Co. were a mysterious US band who left behind a set of 10" acetates, collected here for the first time. Late 60s acid–punk / garage–psych, featuring seven self–penned songs plus three terrific cover versions of "I Can’t Explain" (The Who), "Let’s Live For Today" (Rokes / Grass Roots) and the aforementioned "Tobbaco Road" (based on the Blues Magoos cover but including an extended crazed theremin/drum freak out!). NYC psych collector Mike Ascherman recalls how he came to acquire the acetates:

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[engl] The three piece strikes again with a record that represents the band itself : beauty, chaos, tension and relief. This ep is the result of numerous jams where the drums/bass remain frenetic, and the guitar/vocals stand impassive in front of what could look like a big beautiful mess. The band has proudly kept the same team as it’s previous LP to work on that new material: this has been recorded at le K7 studio with Franck Molin, mastered by Renaud de Saint Vaast, and cover designed by the mighty Chufy.

[engl] Another gauzy glimpse of psych-pop sunshine rolls in from Doug Tuttle today. The a-side to his latest single from Six Tonnes de Chair, “Anywhere You Run” lopes in on a gentle jangle and a sun-faded feeling that’s hard to shake. The song is a bleary-eyed cruiser passing by in slow motion, but even so it seems to end too soon forcing the needle back to the beginning for replays again and again. Both sides of the single pair well with Tuttle’s last LP, the blissfully beautiful Dream Road. The songs here are cut from the same cloth as the album’s dream-doused psych-pop, wafting in on autumnal breezes that ripples just slightly in the sun. The single’s limited, so don’t let the lounged feeling lull you into complacency — 2 variants : 200 on black vinyl and 100 on blue vinyl. Artwork created by New Zealand artist Callum Rooney. I recommend nabbing one while you can. The single lands April 3rd.

[engl] Untouchable early ’80s Power Pop from Milwaukee, WI. They only released one 45 during their existence (and reissued by Bachelor Archives), but it stands up as one of the top tier Power Pop singles of all time. This collection plays like a long lost album or maybe even a collection of classic, lost 45s. Timeless, perfect pop songs that echo the Raspberries as much as they do Brill Building hits. Almost every number sounds like it could have, should have been a hit single.This release is a new and improved issue of the collection that Sing Sing Records released in 2014. The LP comes with a 12"x36" double-sided insert with photos, liner notes, etc. and a replica of the original Shivvers bumper sticker.

[engl] Back in print!! Another all time Dead Moon classic. The band really hit their stride on this one! The best rock band of the 90’s and 2000’s kicks out some of their finest rockers and ballads. Features all time greats like Diamonds In The Rough, Say It Isn’t So, Running Out Of Time, Somewhere Far Away and Windows Of Time. A must have for any fan of the band and rock music in general.

[engl] Reissue of the 2010 release on Sing Sing Records, NYC, USA. This is the first album of PROTEX, recorded in 1979-1980 for a release on Polydor records, but the record never came out because the label was interested in the next big thing, after punk rock.... The guys from Sing Sing Records unearthed this masterpiece and put it out in 2010, it was sold out and OOP soon afterwards. So nearly 10 years after you have the possibility to buy this classic for a normal price. The Bachelor Records release of "Strange Obsessions" is not only a simple repress, we managed to improve the sound and speed, thanks to Eric Brady, PLUS the artwork was changed a bit too!

[engl] Classic Powerpop from 1980! KILLER!!

[engl] Fast Freight is the new album from Deniz Tek with Art and Steve Godoy. Art and Steve are internationally known skateboard stars, tattooists and punk rockers. They have been in Deniz' solo band for more than 20 years. The first album they appeared on with Deniz was Glass Eye World, billed as Deniz Tek and the Golden Breed . Deniz, originally from Ann Arbor, Michigan, is known as a founding member of the Australian based band Radio Birdman. He has maintained a prolific career in both live performance and recording. His work spans multiple decades. He has toured extensively in Australia, North America, Europe, and Asia. He is an inductee in the Australian Music Hall of Fame and was voted number 7 of the top 100 Australian guitarists of all time by Australian Guitar Magazine. Fast Freight is basic, no-frills electric guitar rock and roll with a punk edge, recorded and mixed entirely on vintage analog equipment. Following the recent all-instrumental Lost For Words, and the rock album Mean Old Twister, replete with keyboard and horn arrangements, Fast Freight is a return to basic roots.

[engl] Shantih Shantih is a four-piece band founded in Atlanta, GA. Combining rock ‘n roll with dreamy harmonies over twanging guitars, the group consists of Italian native Anna Barattin on vocals and rhythm guitar, Julia Furgiuele on vocals and drums, Anna Kramer on lead guitar, and Nikki Speake on bass.

[engl] Finally, these are the first RADIOACTIVITY recordings after their 2015 acclaimed SILENT KILL album. "Erased was actually written just after we finished recording that record" Jeff Burke reveals. The song sounds like an evolution of that sound, with a driven riff following the classic Burke's melanchonic melodies. Th B-side, FEAR, goes back into the dark tone of the tough and radioactive Japanese days "It was written in 2011 when I was living there, but only got recorded properly in 2018".