As a record label that makes a specialty of 7” pressings AND live recordings from our famous Blue Room in Nashville, TN (home of the only known live-to-acetate opportunity in the world), we are pleased to present three new live singles from up-and-coming bands who graced our curved walls early last year and have since gone on to further conquer the world of rock ‘n roll. Each release is officially available next Friday, February 16th with pre-orders beginning today.

Listen to a sample from each A-Side below...

...and pre-order all three as a NICE PRICE bundle here.

WAXAHATCHEE “Greenville” (Lucinda Williams) b/w “La Loose” / Recorded 3-21-2017 

Waxahatchee is the musical project of Katie Crutchfield, an Alabama songwriter long-steeped in the Rutgers/Philadelphia scenes. Having released albums on Merge Records and New Brunswick’s beloved indie Don Giovanni Records, Crutchfield has carved out a distinct name for herself, both grassroots and now nationally, as a devastating and whip-smart writer and performer.

The live tracks captured are ideal illustrations of her storied artistic strengths. The B-side is her original “La Loose”, showcasing her soaring crystal vocal chops a la Anne Briggs, and the A-side is a powerfully stark cover of Lucinda Williams’ “Greenville” that has been a staple of her live set for years. Of her Williams cover, Crutchfield says:

"Playing Third Man was a highlight of my tour last Spring. Waxahatchee has been covering Lucinda Williams' 'Greenville' for a few years, but we never got around to recording it. To have my cover of such a great song be on this single is very exciting for me."

Waxahatchee is ON TOUR! Upcoming tour dates available here.


PILL “Afraid of the Mirror” b/w “T.V. Wedding” / Recorded 3-3-2017

Hot on the heels of a groovy and unglued no-wave full-length on well-lauded Mexican Summer, Boston’s Pill rolled into the Blue Room to play a show and use a couple recorded tracks for a live 7". These recordings fully capture the incredible energy of the evening.

The A-side “Afraid of the Mirror" you’ve gotta hear to believe. While the eponymous mantra drills into your head, the equally churning upfront bass line is sewn into an expert-level percussive fracas. Not for beginners. “T.V. Wedding” is an downhill, apocalyptic kraut jam driven forward by pulsating saxophone improvisation taking lead all over the track.

The band relived the experience recently over email, saying, “A year ago Pill rolled into Third Man Records illustrious “blue room” in Nashville, TN to record a live 7". We were met by the kindest folks, coffee from an espresso machine gifted by Neil Young, and a whole lot of taxidermy. Our sax player, Ben Jaffe, was celebrating his birthday, and fueled by Third Man hospitality and tequila, he played some of the most out there horn we’ve seen in our time as a group. Truly a birthday miracle.”

BROOKLYN! Join the band on March 10th Release show at Baby's All Right with Public Practice and more...

Not in Brooklyn? No problem! Pill is also ON TOUR starting this March, with tickets going on sale this Thursday at 11 EST. ‘Afraid of the TV’ tour dates are available here 


Marching Church “Inner City Pigeon” b/w “Calenture” / Recorded 1-30-17

Formerly the solo project of Iceage frontman Elias Bender Rønnenfelt, Marching Church has since blossomed into a full band, found a home on Brooklyn’s Sacred Bones record label, and cultivated a following all its own. The sounds are darkly romantic and rife with an angst that can be traced back the post-punk caterwaul of Joy Division and The Birthday Party. This will be the first live document of Marching Church’s full-audience command of attention.

Kicking off with a track from 2016’s critically-acclaimed Telling It Like It Is, “Inner City Pigeon” begins quietly with rolling toms and desperate, breathy gasps escalating and by the end, bending further to the point of breaking. The B-side “Calenture” is dim and sparse with thin ambient guitar strums laying down an ambient soundscape. Then, what seems like suddenly, it morphs into something of a downtempo dark country ballad, in the echoes of Ronnefelt’s heartfelt words and on-stage inner conflict