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The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground.
Queen of the Norfolk Sound, Barbara Stant was a teenager when she auditioned for Shiptown impresario Noah Biggs in 1970. By 1978 disco was in overdrive, Noah Biggs was in the ground, and Stant's career on hold. My Mind Holds Onto Yesterday is what remains
The Scientists proved to me that rock 'n' roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real." —Thurston Moore
Daddies don’t always come home for Christmas. From the snow-covered plains of Wisconsin’s Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-the-beer country music hope
The final album in Pastor T.L. Barrett's 1970s four-part suite of gospel funk LPs, Do Not Pass Me By finds the fiery preacher getting spaced out on God's love. Released 1976
Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supreme.
Ships 7/25/25 - A highly-regarded two-sided soul record from 1970, particularly "Who Knows", which has garnered significant attention over time, including soundtracking prestige TV and car commercials.
Ships - 7/25/25 - Brooding and atmospheric, with a plaintive lead vocal from Virgil Johnson, “You Can't Blame Me” was a hit throughout the Midwest and much of the East Coast.
After three albums of reverberated guitar wandering he takes a turn towards the kosmiche. Two side-long synth explorations transport the listener to the avocado hues of 1974, expanding consciousness one oscillation at a time
A dazzling 11-track journey through the rich, handpicked gems of Numero's finest. Blending the timeless warmth of classic soul with a fresh, modern twist, Eccentric Modern Soul delivers an expansive soundscape that feels both nostalgic and new.
Originating in the unassuming suburb of Prairie Village, Kansas, Bulbous Creation seem to have warped directly from the wrong side of the looking glass with a jabberwocky full of surreal lyrics and gratuitous guitar solos.
You know Dolly, Loretta, Tammy, and Bobbie-but what about Joyce, Mona, Cathy or Judy? Barnyard Beehive lassos 16 Opry hopefuls from across the Numeroverse, corralling the timeless tropes of eartbreak, trouble, and the bottle into one 12" pen.
The final recordings by Annapolis early emo pioneers The Hated, Flux compiles their 1989 acoustic and electric sessions, home demos, and live shards from their extensive archive.
