Today, we are excited to release three new live albums, its last releases of 2017: 7" records by Viva L'American Death Ray Music and Ó, and a 12" record by Chain and the Gang. Each of these was recorded live in Third Man's famed Blue Room, and a bundle containing all three titles is available for purchase HERE.

Viva L'American Death Ray Music Live at Third Man Records 7"

V.L.A.D.R.M. began in 1999 as "American Death Ray," the brainchild of Memphis garage scene stalwart Nicholas Ray. Since then, the project has twisted, turned and head-tripped nominally, to its current moniker, and sonically, from Velvets-influenced jams into an amalgam of truly exploratory punk, no wave, electronic and psychedelic rock music. This live 7" will be their first music since their 2013 single, a 7" split released by Memphis big wigs Goner Records. The tracks featured are "The Painter" and "Falling", both previously unreleased!

Chain and the Gang Live at Third Man Records 12"

The latest from the world's greatest frontman, Ian Svenonius, is the excellent live document of Chain and the Gang! Having put out full-lengths with K Records, In the Red Records and Dischord Records, Third Man is proud to join the ranks of Chain disciples in presenting their first ever live recording. This LP captures the raucous yet sagacious social commentary of Svenonius perfectly supplemented by the shaken soulful punk stylings of The Gang. This ain't 3am party dulled garage rock; this is sharp, socio-political and intelligent critique, as many DC artists have had a rich history of representing. This also must be Chain & the Gang's decidedly lo-fi sound at its most crystal.

Ó Live at Third Man Records 7"

Ó (formerly Eskimeaux) is the bedroom indie recording project of Brooklyn songwriter and producer Gabrielle Smith. She and her band's live 7" features two intimate yet momentous songs, "Alone at the Party" and "Broken Necks", both from 2015's O.K, the indie pop tour de force released on Double Double Whammy Records. "Broken Necks" is notably arresting as the first 40 seconds is a finger-picked invitation to the audience to join in singing the chorus, only to explode into full band ferocity with Smith's saccharine, solid vocals uniting naturally with her backing band.