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Low Quantity Alert on Permanent Label Titles!  Less than 30 copies for each title, some less than 15!  Don't wait any longer if you're planning to permanently rock your ass off!  Get your copy before they're gone forever!

Bitchin Bajas - Krausened EP 5 Copies
Heater - God And Hair LP 6 Copies
Leather Slave - Leather Slave LP 16 Copies
Frankie And The Witch Fingers - Brain Telephone LP 30 Copies
Basic Cable - I'm Good To Drive LP 11 Copies
Purling Hiss - Purling Hiss LP 19 Copies

The High Rise reissue received Best New Reissue on Pitchfork.  We restocked them due to high demand!  Order your copy HERE!  Read the review below!

Black Editions • 1986
Best new reissue
by Patrick St. Michel

Originally released in 1986, the reissue of High Rise II shines a light on an important and fiery document of Japanese psych rock.

Western listeners have long been drawn to underground Japanese music that falls between genres. Once the domain of pricey imports and fanzine pages, this decade has seen compilations such as Chee Shimizu’s More Better Days gather off-beat pop that draws from all over the global map, while labels like Palto Flats and WRWTFWW Records get rarities back into Western rotation. One of the most ambitious reissues projects comes from Black Editions, which is bringing out-of-print gems from Hideo Ikezumi’s psych-rock-leaning PSF label. Their latest is a fixture of Japanese underground rock, the second album from the Tokyo band High Rise. It’s a frantic set of blow-out garage rock that lives at their stylized intersection of psych, free jazz, and punk—a fiery testament to these Japanese artists’ ability to sever themselves from existing music communities to create something all their own, and capture a singular, high-energy moment in their careers.

High Rise officially came together in 1982, centered around bassist and vocalist Asahito Nanjo and guitarist Munehiro Narita. Both grew up listening to imported Western music—Nanjo obsessed with any soundtrack he could find, Narita exposed to the Doors, Pink Floyd and Wilson Pickett among others via an uncle—before venturing into even more eclectic territory, developing a playing style heavily shaped by groups like Grand Funk Railroad and Blue Cheer. Punk, free jazz, and no wave caught both of their attention, as did domestic projects such as early Keiji Haino outfit Lost Aaraaff and the band Friction (featuring Reck, an early member of Teenage Jesus and the Jerks). The pair found themselves briefly playing in the same shadowy psych band, Kosokuya, but soon grew restless. “I decided to do something ‘hard’ with the people I got on best with,” Nanjo said in an interview.

The pair started playing as Psychedelic Speed Freaks, a name obvious about that Tokyo record store owner Hideo Ikeezumi asked them to change it before he put out their debut album on his label because it was too direct. They renamed themselves High Rise—after J.G. Ballard's 1975 novel—and in 1984 put out Psychedelic Speed Freaks, their first album and the accidental namesake of Ikeezumi’s fledgling label. High Rise, though, set the template for future PSF groups, if not sonically than at least in attitude. Their feedback-stained improvised rock drew from the wild jazz and avant-garde communities dotting Japan, but with a rock backbone provided by Narita’s guitar playing. “We didn’t have a position,” Najo says of their place in the Japanese music world, and they’ve never sounded like they lamented it.

High Rise II marked the crest of the band’s fried-out psych, partially because they found Yuro Ujiie, a drummer who could actually keep up with Najo and Narita. High Rise have cycled through drummers at a quick clip over the last few decades, but Ujiie was the only one to push the central pair into their most fertile territory. It’s not just about swiftness, although cuts like “Last Rites” and “Turn You Cry” are among their quickest salvos. Just as important was Ujiie’s ability to hang with two players ready to veer off in different directions at any second, lending II a more manic energy than their locked-in debut.

Not that you would notice, at least right away. Critical to II’s atmosphere is how the drums get mixed lower, putting the emphasis on the fuzz-soaked bass and guitar. Ujiie provided propulsion, but it’s more subtle across High Rise’s second full-length, pushing songs forward but staying just out of the spotlight. Same goes for Nanjo’s vocals, coated in distortion and tough to make out. “They’re just various bits of English junky slang strung together. They just say that if you want to take drugs, you’re going to have to be prepared to die,” Nanjo has said of his lyrics, pointing to the group’s foundational theme of being anti-drugs (“The concept was to save the junkies”). Still, every word gets obscured by sound, rendering Nanjo’s singing as an unnerving (and, frequently, catchy) detail rather than something to really dwell on.

High Rise created a cult because of the way the guitar and bass tore off across their songs. As relayed in interviews, the group didn’t create songs as much as they made concepts, improvisations that sounded focused. Narita’s guitar playing goes a long way here, tearing apart the heavy groove of “Cotton Top” and darting across “Wipe Out’s” rush of bass and drum fills. If Nanjo and Ujiie were more in sync and creating a constricting squall, Narita added the rush of on-the-edge oblivion that gives II such a dizzying vibe. Comparing faster cuts like “Turn You Cry” and “Last Rites” to hellacious motorcycle chases works well—the guitarist described High Rise’s music as “like seeing a traffic accident happen right in front of you.” The same reckless plunge forward even comes through on II’s one extended jam, the 13-minute whirlwind “Pop Sicle,” a number bringing to mind the slow-burn dirges of Les Rallizes Denudes sped up and frayed.

Black Editions reissue presents what they call the “definitive version” of II, mixed and mastered by Nanjo. He makes sure the guitars come to the fore of this 2018 version, maintaining the wild energy of the original. Two bonus songs originally found on a PSF CD version released in 1993 also appear here—the chug-a-lug of “Monster a Go Go” is as close as High Rise came to sounding like a conventional rock band, and earns its status as an extra. Far better is “Induced Depression,” a psych blast more in line with the shorter numbers on II featuring some particularly busy solos courtesy of Narita.

II caught High Rise at their most confident and adventurous—future releases would find Nanjo, Narita and whoever could handle the kit slowing down, or with the singing and drums coming through more clearly, while all involved would venture off into multiple other groups, like the more structured Mainliner or Musica Transonic. It’s on this 1986 release, though, where they are most eager to blaze their own path, not just far removed from the glitzy sounds of mainstream Japanese music during the bubble years but from other underground artists. II holds nothing back, but it also features catchier elements separating it from the pure bludgeoning of Merzbow and other “Japanoise” acts, while also being more muscular than the dramatic sounds of labelmate Haino. No shortage of niche acts popping up in Tokyo’s live-houses sound like High Rise, but the real legacy to glean from II is that of a band embracing their independence and going their own way.

 LP - Marcos Valle - Previsão Do Tempo

Ten years after Marcos Valle’s debut long player (Samba Demais) introduced Brazilian music lovers to the immense talents of the Valle brothers, a new direction and backing band helped the singer expand his musical palette. Showcasing a groovy funk and jazz-fusion influence with help from then current backing band Azimuth (later known as Azymuth), synthesizers, Fender Rhodes, and electronic sounds took Valle’s samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), along with the inspiration of black American music and psychedelic rock from prior albums, to dimensions unheard. While not a complete departure, the vocals, grooves, and engaging songs of Previsão Do Tempo are guaranteed to make you feel free and think deep.
Previsão Do Tempo was originally released in 1973 and quickly became a favorite of Valle disciples. Still committed to political/cultural criticism through his music, Marcos was reaching a plateau in terms of sound and vision (Previsão Do Tempo sports an arresting sleeve shot of Marcos underwater and also features contributions from Waltel Branco and O Terço). Any way you spin it, Light In The Attic is proud to present Previsão Do Tempo as part of our four-album Marcos Valle reissue campaign. Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, Previsão Do Tempo features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.
Powered by the jazzy electronic feel of Azimuth (thought by some to be Brazil’s finest musical combo), Previsão Do Tempo is a highlight in the Valle discography and a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.

We started making Buttons again!! Scoop up a pair of Grim Reaper Motorcycle and Skateboard Buttons for $1.49!  Order HERE

Check out our new releases and restocks!  Please reach out to order a copy. 

Amyl and the Sniffers - Big Attraction / Giddy Up 12"
NOW AVAILABLE ON CD!!! AMYL AND THE SNIFFERS are a punk band possessed by the spirit of seventies Australian rock. AMY TAYLOR (vocals), BRYCE WILSON (drums), DEC MARTENS (guitar) and GUS ROMER (bass) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of 12 hours. Taking their cues from a diverse bunch of legends including AC/DC, Cosmic Psychos, Dolly Parton and Die Antwoord, they set out to have as much fun as possible. Amyl and the Sniffers’ second EP, Big Attraction, was released in February 2017, kicking off a stellar year for these young punks. Growing buzz around their blistering live show made the band a hot tip at Bigsound in Brisbane, while the band was added to festival line-ups including Meredith and CherryRock17. The band sold out their first headline show at the Bendigo Hotel in September, and were invited to join the Cosmic Psychos on their November/December ‘17 tour.

Twin Peaks - Sweet '17 Singles LP
Last year the TWIN PEAKS dudes released a 7" subscription series that ran from the summer through the winter. It sold out immediately was limited to 300 copies each. It did so well that Grand Jury Records compiled all of the singles and they're now available on a single LP.

Carlton Melton - Mind Minerals 2xLP+CD
This is the new CARLTON MELTON album, the first full length release since 2015’s widely-lauded Out To Sea, itself a languid drifting of drones and psychedically-enhanced riffmongering.  Admittedly, there has been some long EP releases since: Hidden Lights in 2017 (featuring the immeasurable drone-sike-float on “Rememory”) and Aground in 2016 (a companion, the Desert Island weather beaten psych-flow follow up to Out To Sea). Now its time to soak up Mind Minerals. This album finds the band in fine fettle: all the songs were recorded and engineered at El Studio in San Francisco by PHIL MANLEY over two days (except “Untimely”), with the studio suiting them—a logical progression from previous weekend recordings out at the Dome.  Under Manly’s watchful ear / eye, the band have created a futurescape soundtrack, a 3001 Space Odyssey.  The drums are more pounding and direct than ever, the constantly re-assuring bass creates a helping hand of propulsion through the clouds of static and shards of electrifying guitar dazzling the horizon.  Synths help soothe the sharp edges and lull one into an out of body experience, while the orchestrated calamitous scree brings one back. This is a breathless, yet deep breathing album. No Export to UK/EU.

This Kind of Punishment - This Kind of Punishment LP
In the fertile terrain of New Zealand’s 1980s post-punk scene, few figures loom as large as the Jefferies brothers. GRAEME JEFFERIES and PETER JEFFERIES—the primary forces behind THIS KIND OF PUNISHMENT—wrote some of the best music to come out on Flying Nun, Xpressway or elsewhere. A dizzying mix of pastoral ballads and DIY experimentation, TKP’s songwriting was at once classic and acutely raw. On their self-titled debut, the Jefferies brothers and CHRIS MATTHEWS eschew the punk-informed modes of their contemporaries for a sound that is decidedly more deliberate / intimate. Rooted in a marriage between simplistic, classically-influenced piano, alternating guitar chime and sparse, subtle violin drone, This Kind Of Punishment is a contemplative, inventive collection of ideas corralled via economic 4-track recordings, minimal instrumentation and an austere performance style entirely of the Jefferies’ own making. Songs like “After The Fact,” “In View Of The Circumstances” and “Two Minutes Drowning” boast a living quality whereby the listener can act as bystander to these moments of creation—a trait that the band would expand upon throughout the course of their brief tenure. First-time vinyl reissue since its initial release in 1983.

This Kind of Punishment - A Beard Of Bees LP
Among THIS KIND OF PUNISHMENT’s myriad recordings, A Beard Of Bees best outlines the collective vision of brothers GRAEME JEFFERIES and PETER JEFFERIES. Their classic second album feels more meticulous than its predecessor, proffering a grey, near-Mancunian influence that serves as both touchstone and springboard for the proceedings. The unique maneuvering on “Trepidation” is a marvel: guitar sweetness shifting toward melancholic piano and ending with their combined shimmer. Conversely, the augmented VU-inspired noise of “East Meets West” positions itself as the album’s prime moment of severity, creepily building toward horror-show screams that inch to a buried, found-sound resolution. Originally self-released in 1984, A Beard Of Bees has been out of print for almost 25 years.

Truth And Janey - Topeka Jam: Live 1974 LP
Double album of unearthed live recordings from 1974 by legendary Midwestern underground hard rock trio TRUTH AND JANEY, captured here stretching out with extended jam sessions over several nights in Topeka, Kansas. Celebrated Iowa hard rock trio Truth and Janey are captured here doing what they did best, stretching out into raw, extended jams featuring heavy guitar action from BILLYLEE JANEY, booming fuzz bass from STEVE BOCK, with DENIS BUNCE locked in the zone behind his drum kit. 'Midnight Horsemen,' originally released as as 3-minute single in 1972, is featured here as a side-long 22-minute jam—a prime example of vintage Truth and Janey. Included are several songs previously unreleased in any way (live or studio), as well as early versions of 'Down the Road' and 'My Mind,' from their 1976 underground hard rock classic debut album, No Rest for the Wicked. Limited Edition of 500 copies.

Beta Boys - Brick Walls 7"
Total Punk follows up the killer Rik & The Pigs debut longplayer with another punk jammer from Olympia, WA. For those of you keeping count this is our third release in a row from Washington's state capital. Time to set up a field office because I don't see this town slowing down anytime soon. Look out Atlanta there's a new contender for the crown. This time around we’ve got Olympia scuzz punks BETA BOYS. Following stellar releases on Lumpy, Neck Chop, and Goodbye Boozy, they are back with their best outing yet. The sewer dredging punk of “Brick Walls” is all sludge, drool, and thuds. A three-and-a-half-minute circle pit slow jam made for chipped teeth and scraped knuckles. No more brick walls or littered streets. I’ve got a new life. It’s just for me! 100% TOTAL PUNK! Edition of 500 copies.

Felt - Crumbling The Antiseptic Beauty LP
Anyone who has been living on the grapevine these past few years must have heard the rumours about the coming of the FELT reissues—well they’re here. During the ‘80s Felt produced ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times. These vinyl records, unavailable for many years, have been re-mastered and revisited by LAWRENCE, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve. Lawrence’s ambition was to release the best debut English album ever! Adrian Borland offered his services, but commitments with his band The Sound prevented this from happening. So Felt began a relationship with Swell Maps producer JOHN A. RIVERS. Recorded and mixed over six days, the band got a taste of how bitter reality fares compared to the “mellow fruitfulness” of blind ambition.

Felt - The Splendour Of Fear LP
LAWRENCE escapes the contours of a bland city and retreats into his mind. FELT had risen from the underworld searching for a new horizon but only managed to slip into a desolate obscurity! Dark black slabs of creosote guitar—vast swathes of epic interplay—casting futuristic Shadows—an idiosyncratic and unobtrusively brilliant band, the music Felt made on this album is unlike anything attempted before. This really is a template for an age yet to come. And it pays to know that MAURICE DEEBANK now resides in a monastery in Birmingham!

Felt - The Strange Idols Pattern And Other Short Stories LP
Before the Stone Roses and after Be-Bop Deluxe and Plastic Ono Band, JOHN LECKIE worked with FELT. Booked into a metal/reggae studio in Birmingham’s industrial wasteland he sculpted a Michelangelo slice of new rock—exquisite and beautiful guitar odysseys— quite unlike anything the city had experienced before. Merging pop with a classical nuance Felt stood alone as the forerunners of a brand new style. And GARY AINGE was finally allowed to use his high-hat!

Felt - Ignite The Seven Cannons LP
Produced by ROBIN GUTHRIE of COCTEAU TWINS and featuring the sky-scraping vocal of ELIZABETH FRASER on the mighty “Primitive Painters.” FELT found themselves at the top of the independent charts. Unhappy with the overall sound though—it was as if some of LAWRENCE’s best songs were lost in an “ethereal swirl.” JOHN A. RIVERS has been given access to the original master tapes and six songs have been remixed. Also—side 2 has been focused, edited and “made symmetrical.” Finally these songs can be heard as intended by Felt. It has become at long last a cohesive whole.

Felt - The Seventeenth Century LP
Previously named Let the Snakes Crinkle Their Heads to Death, this album is now renamed The Seventeenth Century—the original name for the album was changed late in the day. This reversal of misfortune was classed as an awful mistake and LAWRENCE’s biggest regret. Fast forward to now and this situation can finally be rectified. “You can’t change the title of an album”—they told him—so he said; “if Kraftwerk can and Bowie can then I can too!!”

More Restocks!

Total Control - Henge Beat LP - New Red Vinyl Pressing!
Total Control - Typical System LP - New Green Vinyl Pressing!
Loop - Wolf Flow 2xLP
Ty Segall - Freedom's Goblin 2xLP
Spacemen 3 - Dreamweapon 2xLP
King Gizzard & the Wizard Lizard - Quarters LP
Thee Oh Sees - Floating Coffin LP
Ty Segall - S/T LP
Fj Mcmahon - Spirit LP
Fugazi - S/T LP
Fugazi - Red Medicine LP
Jawbreaker - 24 Hour Revenge Therapy LP
King Gizzard - Murder Universe LP
Liquid Liquid - Optimo LP
Liquid Liquid - ST LP
Mad Walls - ST LP
Mazzy Star - So Tonight LP
Meatbodies - S/T LP
Minor Threat - S/T LP
Neutral Milk - Aeroplane LP
Oh Sees - Help LP
Oh Sees - Mutilator LP
Shannon Lay - Living Water LP
Suicide - First Rehearsal LP
Sun Ra - Space Is the Place LP
Ty Segall Band - Slaughterhouse LP
Ty Segall - Melted LP
Wand - Plum LP
Wand - Golem LP
Fumio Miyashita - Boffomundo Show LP
Vashi Bunyan - Just Another Diamond LP

LP/CD - Various Artists - Brown Acid: The Sixth Trip - Heavy Rock From The American Comedown Era

If you’d told us when we started this epic journey that we’d have six volumes worth of licensed tracks released in just three years, we would’ve laughed in your face! Doing the Dark Lord’s work isn’t an easy job, but somebody’s gotta do it, so here we are with six Trips under our belt and more lined up. You heads just can’t get enough obscure hard rock, heavy psych, and proto-metal from the late-60s & 70s! And for that, we’re grateful for the opportunity to keep laying these slabs in your lap.
This isn’t just a random mixtape we threw together off the Internet. We find the records, track the bands and transfer the tapes, so you don’t have to. The bands did their job back in the day by writing, recording and releasing this material, most times against all odds, and you’ve squandered your hard earned scratch on this record, so I guess the least we can do is continue to compile quality Rock’n’Roll cuts from the golden age of heaviness.
This time around we have 10 deep cuts from across the continental US of A and one from our neighbors up North. This Trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing and also leads one to believe that the only band that could’ve held a candle to Gold back in the day would’ve been the mighty Blue Cheer.
As we delve deeper into the depths, Canadians continue to prove that they could bang heads with the best of ‘em! Heat Exchange from Toronto released the rollicking ripper “Inferno” on the Yorkville label way back in 1968 and it’s still thumping almost 50 years later!
Missouri isn’t a state that brought us a lot of heavy 45s, but there are a handful of outstanding tracks from the Show Me State, one of which is the funk-laced anthem “Give Me Time” by Backwood Memory from Kansas City. Speaking of Show Me, many thanks to our KC pal Jeffrey Harvey for turning us on to this one and helping put us in touch with the band.
The longer we do this, the more we begin to believe that Youngstown, Ohio was the Hard Rock Mecca back in the day. Travis is yet another Youngstown group that aimed to get asses out of seats and out in the streets. “Lovin’ You” is a groovy banger with a sultry riff originally released on the prolific Starshine Productions imprint.
Six years prior to his Arcadian synth-funk novelty hit “Space Invaders” from 1980, Victor “Uncle Vic” Blecman took Flight into the studio with a list of relationship requirements. Amongst which are his need for “Luvin’, Huggin’, & More”, with emphasis on the “More” part if we’re to believe the urgency with which he delivers this fist-pumper.
If you don’t immediately recognize the Truth & Janey moniker, you need to get with it and familiarize yourself with their incredible 1976 LP “No Rest For The Wicked”. It’s a proto- metal masterpiece that’s been reissued on Rockadrome. Released four years earlier than their debut LP, “Midnight Horseman” is a 45-only track backed with a cover of “Under My Thumb”. Dennis Bergeron from Rockadrome was crucial in helping us obtain the rights to this Iowa burner.
Another Iowan group, West Minist’r, self-released three 45s between 1969 and 1975. They’re all great in their own way, but “My Life” hit the crunchy sweet spot in ’71 with vocals sounding like a fresh from primal scream therapy John Lennon over a zonked-out Hendrix groove. You can count on hearing more from West Minist’r on future Trips.
It’s nearly impossible that Dayton, Ohio’s Purgatory didn’t seize the “Strange Days” and join “The Soft Parade” while “Waiting for the Sun”. And although “Polar Expedition” wears its influences on its sleeve, 1969 would have been at least a little worse off if the band hadn’t self released this single.
Johnny Barnes was definitely “smokin’ that reefer” and “drinkin’ that wine” when he released “Steel Rail Blues” in 1976. The label states that you could order a copy of this 45 for by sending $1 to a PO Box in Boston and it’s the only record on the Brown Acid series that seems to be obtainable currently for about the same amount it was sold for over three decades ago. That said, it’s doubtful that it will remain so cheap for much longer.
With a track as heavy as “Is There No Peace” it’s easy to let the name of the label on this 45 slide. In Chicago in 1970 PSLHRTZ seemed like as good a label name as any for the guys in Zendik to release this insane recording on. Halfway through the track you might be wondering to yourself, “How was this not a hit?”, and then you hear the lyrics to the last bit of the song and understand. Thank Christ for Zendik, even if he is dead.
Well, there ya have it. Months worth of record digging and detective work for about 40 minutes worth of music. Some people might think this is a waste of time, but we don’t and we hope you don’t either. This is the stuff that makes life worth living, at least until the next Trip…



Brown Acid Cassettes
and Compact Discs have landed in our laps over at Permanent Records!  For a limited time you can order individual trips or collect them ALL in one bundle!  5xCS and 5xCD Combo Packs are $29.99 and Single trips are $6.66 a pop! 

Have you checked out this weeks lastest Instagram recent arrivals videos?  If not, we posted them below so you can see them!  Just click on the link below the image!  If anything looks enticing, drop us a line at permanentechopark@gmail.com to inquire.





Announcing the Jesus Sons residency at The Echo!  Tons of friends playing and DJing. Go have a real fine time!! We’ll see y’all there. :)

Frankie and the Witch Fingers are back and ready to blow minds! Catch them 3/1/18 at Echoplex with Cat Scan, Twin Temple and Kaz Mirblouk. This one is 16 AND UP!! Let’s go crazy!! 👺Tripped out flyer by Nikki Pickle and Rose Of Smiling Faces 👹 ⠀

We are hosting some exciting instores at our Highland Park shop next month!
Prison Tats instore
Shark Toys instore
5116 York

For those about to rock...we salute you!

The Permanent Crüe

No collection is too big or too small. You can bring your records by Permanent LA and we're also always ready to travel to you! Drop us a line anytime:

Los Angeles:

And just like every week, P-Rex Los Angeles DJs continue to FEED THE FREAKS!!!

"Every Wednesday.  Old Chalet - 1630 Colorado Blvd.  10-2am. Rock'n'Roll Partytime! With Lance Bummer and Special Guests. Drink specials. Excellent adventures, only.  Absolutely, no bogus journeys. Get down."
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