Originally released on CD in 1996 now reissued on "a records" Anton Newcombe's own
record label . This is the first time on 180 gram vinyl. Released on 180 g one Blue vinyl & one Red vinyl
The Brian Jonestown Massacre's obsession with the Rolling Stones continues unabated on the brilliant Take It From the Man!; where the group resurrected psychedelic-era excesses on the previous Their Satanic Majesties' Second Request, here they jump further back in time to the Stones' mid-'60s period, with even more superlative results. From the opening "Vacuum Boots" onward, Take It From the Man! is gritty, swaggering R&B-influenced rock, delivered with remarkable assurance and attitude; singer Anton Newcombe is half madman and half sha-man, and he commands each delirious moment with absolute mastery, emerging not so much a disciple of Mick Jagger but as a serious threat to the throne.

Originally released in 2001 now reissued on "a records" Anton Newcombe's own record label.
Truth in advertising: the Brian Jonestown Massacre's sophomore album does, as promised, spring forth from the Rolling Stones' long-underrated 1967 masterpiece Their Satanic Majesties Request, copping not only Mick and Keith's leering bad-boy attitude but also their their rock-and-roll-circus spirit. Opening with the brilliant "All Around You (Intro)," a tongue-in-cheek guide to the mind-altering journey ahead, the record is a kaleidoscopic, drug-fueled freakout -- like the Stones' namesake album, Second Request is painted by Eastern drones and psychedelic tangents, each track bubbling with dozens of sound effects including sitars, mellotrons, farfisas, didgeridoos, tablas, congas, and glockenspiels. Travelling through the past, darkly, the Massacre arrives on the other side unscathed; their music is too rich to be merely retro, and too knowing to be merely slavish -- the Stones themselves haven't made a record this strong or entertaining in years.

First time & remastered from the vinyl originals is the band's singles compilation . This double CD features 14 tracks that have not been available on CD before , these versions are completely different from any version that found itself on a full length album. It also features two tracks from the band's alter ego Acid recorded in 1993 , & also the unreleased anywhere apart from this CD & the original 7' the tracks Convertible & Their Majesties 2nd Request (Enrique's Dream) & also the most recent 2011vinyl single release ) Illuminomi & There's A War Going On. The 2CD comes with a 24 page booklet featuring the front & backs of all the picture covers of the original covers.

Recorded in early & late 2009 between Iceland & Berlin with a US tour in between, the Brian Jonestown Massacre move forward with this new full length album "Who Killed Sergeant Pepper ?". Working with musicans of the likes of Will Carruthers (ex Spacemen 3 & Spiritualized) , Unnur Andrea Einarsdottir (who recorded vocals on the last BJM album) and other musicians from France, Germany and Iceland, this is the band's most 'multicultured' release to date, while still retaining their trademark style throughout the course of the album. The 13 tracks ranging from the ambient bhangra beats to rock to shoegaze to gypsy influences of Eastern Europe music & then back again to the subliminal all tinged with the bands trademark psych.

1996 album, their third collection of absolutely stunning music, 13-odd tracks recorded on a single day for around $17.

Back in Print- the infamous 1999 EP contains six rambling, american via manson ditties including " Mansion In the Sky" and "The Godspell According to A.A. Newcombe".

Several of these songs are featured in the film " DIG".

Originally released on CD in 1995 now reissued on A Records Anton Newcombe's own record label. First time on vinyl and on 180 gram. Redolent with the spirit of such high priests of effects and delay as Loop and Spaceman 3.

Originally released in 2001 now reissued on "a records" Anton Newcombe's own record label.
Bravery, Repetition and Noise is a dark dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. BJM uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.