The Adolescents ‘Double Down’ on Bad Cops!

With the use of deadly force by police in the national spotlight following the decisions not to indict the officers involved in the Michael Brown shooting and Eric Garner’s chokehold death, the time couldn’t be better for the release of a protest anthem.

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Orange County punk veterans THE ADOLESCENTS are back to heed the call with their new album La Vendetta… è un Piatto che va Servito Freddo, a Sicilian phrase meaning “Revenge is a dish best served cold”. We are pleased to premiere one of its 16 tracks, “Double Down,” here.

While the latest controversies surrounding the use of deadly force by police center on the cases of black men, and that’s certainly a huge problem in the U.S., THE ADOLESCENTS are focusing on the case of police interaction with another minority — those who suffer from mental illness.

Stream the track “Double Down” and read Craig Rosen’s full story on yahoo music.

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ILD welcomes ‘Blank Recording Company’!

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Were pleased to officially announce we now distribute ‘Blank Recording Company’. Their releases will be included in the January 2015 new release’s. Ship date is December 23rd. Street date is January 13th.

here is a description of the label…..

Blank Recording Company brings you rescued, reissued, rediscovered and revived sounds the globe over.

Many releases will be one time, small run, limited edition pressings.

No stone is being left unturned.

Mastering from analogue master tapes, long out of print albums, lost classics, previously unreleased, unseen photos. All or some of these will be selling points for releases on the Blank Recording Company imprint.

Sounds will be running anything and everything from 1960’s garage, 1970’s folk, 1970’s punk rock, Soul, jazz, prog rock and pretty much anything in between.

The Blank Recording Company – yesterday’s sound today.


LABEL SKU FORMAT ARTIST TITLE UPC
Blank Recording Co BRC 001-7 10×7 ̋ VARIOUS ARTISTS Black Diamonds : Singles From The Festival Vaults 1965-1969 Volume One 613505890023
Blank Recording Co BRC 002-7 10×7 ̋ VARIOUS ARTISTS Black Diamonds : Singles From The Festival Vaults 1965-1969 Volume Two 613505900029
Blank Recording Co BRC 004-1 LP CARRL AND JANIE MYRIAD Of All The Wounded People … 613505910028

January new release book!

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The January 2015 new release book is out and can be downloaded here. Ship date is December 23rd. Street date is January 13th.

Below is a list of this months current releases! Make sure to get your pre-orders in and let us know if you have any questions!


LABEL SKU FORMAT ARTIST TITLE UPC
Blank Recording Co BRC 001-7 10×7 ̋ VARIOUS ARTISTS Black Diamonds : Singles From The Festival Vaults 1965-1969 Volume One 613505890023
Blank Recording Co BRC 002-7 10×7 ̋ VARIOUS ARTISTS Black Diamonds : Singles From The Festival Vaults 1965-1969 Volume Two 613505900029
Blank Recording Co BRC 004-1 LP CARRL AND JANIE MYRIAD Of All The Wounded People … 613505910028
Divebomb DIVE073-2 2XCD KENN NARDI Dancing With The Past 711576007323
Innerstrength ISR024-2 CD BLACK KNIVES The Thirteenth Hour 859700002421

New doc ‘Records Collecting Dust’ documents vinyl collections of famous punk rockers

‘Records Collecting Dust’ will begin a series of nationwide premieres this January, with screenings scheduled through the end of March. In a statement, film producer and Riot House founder Brian Jenkins said there was a conscious push to bring the film to venues outside of larger, more “established” cities.

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“Many indie films do a year of theater premieres on the film festival circuit and primarily play in major markets across the country,” Jenkins said. “When I was brought on to this project, Jason and I agreed that we wouldn’t alienate our audience and that we would do our best to make this film accessible to everyone. We’ve got premieres from Los Angeles to Grand Folks, ND scheduled. It’s a film about punk rock records and we wanted to carry that ethic and approach through the filming, editing, and distribution of ‘Records Collecting Dust’.”

Consult the full schedule below, followed by the film’s first trailer.

Records Collecting Dust 2015 Showtimes:
01/09 – San Diego, CA @ Digital Gym
01/10 – San Diego, CA @ Digital Gym
01/23 – Los Angeles, CA The Nerdist Showroom
01/27 – Oakland, CA @ The New Parkway Theater
01/29 – San Francisco, CA @ Balboa Theater
01/15 – Washington DC @ The Black Cat
02/04 – Gainesville, FL @ The Wooly
02/06 – Baton Rouge, LA @ Atomic Pop Shop
02/08 – Baltimore, MD @ Otto Bar
02/11 – Portland, OR @ Hollywood Theatre
02/13 – Grand Forks, ND @ Ojata Records
02/16 – Rockford, IL @ Nordlof Theater
02/19 – Durham, NC @ Motorco Music Hall
02/20 – Sioux Falls, SD @ Total Drag
02/21 – Phoenix, AZ @ Film Bar
02/27 – Richmond, VA @ Black Iris Gallery
02/28 – Santa Ana, CA @ The Frida Cinema
03/07 – Savannah, GA @ Graveface Records and Curiosities
03/08 – Bloomington, IN @ The Bishop
03/13 – Fort Wayne, IN @ Cinema Center
03/20 – Louisville, KY @ Modern Cult Records
03/27 – Birmingham, AL @ Bottletree Café
03/28 – Chicago, IL @ Reggie’s Rock Club
03/28 – Bowling Green, KY @ The Public Theater of Kentucky

Pitchfork review of SRA’s HOUND “Out of Time”!

Available now! Exclusively from ILD.

By Paul Thompson

This year, for Halloween, Hound frontman Perry Shall went as AC/DC’s Angus Young. I don’t mean to say Shall merely “went as” Angus Young for Halloween; what I mean is, from the socks-and-shorts to the upturned brim, this dude was Angus Young. I bring this up to underscore Shall’s greatest strength as a frontman: he has a real knack for inhabiting the look and feel of a very particular era of rock’n’roll, the post-prog, pre-NWOBHM intermingling of hard-rock and proto-punk. At no point during Hound’s Out of Time—a triangulation of “Highway Star”, the first few Queens of the Stone Age LPs, and a not-unhealthy fixation with one Lemmy Kilmister—do Shall and company attempt to flaunt tradition, to push well-defined boundaries, to reinvent the wheel. Rather, the band’s looking to get back to something elemental: burly, bongwater-splattered rock’n’roll, the kind designed to sound particularly righteous coming from a pinstriped AMC Gremlin.

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More than anything, Out of Time is unrelenting; just over 27 minutes of low rumbles and snaky leads, pausing only for the delicately fingerpicked “Colintro”—courtesy of bassist Colin McGinniss, also of None More Black—just past the halfway point. Shall’s not a flashy player, neither as swaggering as Angus or as restless as “Fast” Eddie. Still, as a student of the classics, he’s picked up just the right combination of attack and restraint, and Out of Time does lean every bit as well as mean. Taken together, the album’s arid production—a kind of bleary, mid-fi tunnelvision—and near-monomaniacal drive are transportive, beamed in directly from the middle of a long, dark night spent blasting down some backwater at 90 MPH, lids heavy, heart pounding.

Leadoff single and snarling highlight “Little One” plunges a particularly toothsome Shall riff headlong into a roaring McGinniss bassline. Better still is “I Can’t Take It No More”, an anxious, hard-charging punker that finds an unusually excitable-sounding Shall screaming his way around the chorus. He’s not exactly a brazen presence behind the mic; throughout plenty of Out of Time, he coats his voice in a thin layer of fuzz, or deadpans his way through his delivery, allowing certain lines to get stuck in the surrounding sludge. Even at full howl, though, Shall’s never in any danger of overpowering these monstrous riffs, and Out of Time sounds best whenever he drops the inhibitions and fully leans into these songs. To that end, the Sabbath-indebted slowdown—”Houdini”, “Stupid Dreams”—sandwiching the outlying “Colintro” is a slight momentum-sapper; they don’t plod, exactly, but they don’t quite get the blood going like the scrappier stuff surrounding them.

Lyrically, Out of Time isn’t much to chew on. While Shall smartly sidesteps the dunderheaded machismo too often associated with capital-R rock revivalism, what he offers in its stead—anxiety, boredom, and self-doubt, more or less—is only a mild improvement. “If god was real, I think she’d be disgraced,” Shall sings on “Stupid Dreams”; it’s maybe the single most intriguing thought to be found on Out of Time, one Shall all but leaves unexplored. Still, this de-emphasis on lyrics is in keeping with tradition; despite what your uncle’s trying to tell you with that wrongheaded “Led Zeppelin vs. Nicki Minaj” meme he keeps slapping on your Facebook wall, the hard rock canon Hound are harkening back to has a long, storied tradition of dumb, overwrought, or otherwise beside-the-point lyrics. At this point, Hound seemingly aren’t all that interested in toppling their influences or killing their idols; instead, they’re trying to inhabit them, to pile up enough riffs to tap into that deathless feeling of plowing down the road, windows down, speakers blaring, the night ahead of them. That much, they nail.

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