Scott Hefte and the Bury ’Em Deep is the engine of a restless and great songwriter, one who has been with Royalty, Etc. from the very beginning. These songs are unforgettable, strong pieces that demonstrate the peak Royalty, Etc. value — a real band that plays together and exceeds the sum of its parts. Just listen to the effortless windswept plains of “I Thought You Knew”.

Cosmic childishness, neon light. Hott Pink. Rocketing Love from their fully romanced homeworld to distant suns. Freaking out. ZibraZibra shocked the world with the unapologetically original “The End Of the Lion” in 2006, and has radiated bits of data, like a faraway pulsar, ever since. The damn exciting sophomore release “777” released on the numerological orgy of 7/7/07 at Minneapolis' legendary First Avenue mere hours before Prince's final First Ave. appearance that seveny evening, was a humping journey through the hott teenage mind, unleashed from parental supervision, and headed either to doom or permanent stability. Unsupervised shredding and humping. Songs like “Lions on the Astroturf” and the haunting “21st Century” will share this feeling directly with you. After “777” came “Mercury”, a bleak vision constructed in the midst of a dark time. Only Neil Z and Vanilla remained for this album most dark and thick, like a heavy steak meal. This is also what makes it one of the most nutrient dense offerings — pumping out sensational tracks like the chillingly perfect “Marie Antoinette”. Although Atomic Wolf was AWOL for this album, he was recaptured and rehabilitated from his time in the wild, and returned for 2012’s “Mr. Synthetic”. “Mr. Synthetic” leaps into independent consciousness, a robot from the past waking up obsolete in a dystopian present; championing a robotic vision of deprecated digital love routines and skin sheaths. ZibraZibra returns, fully engorged, with tracks like “Crazy” and “Luv Luv Luv” which percolate through a masterpiece of synthetic soul, culminating in the career defining single “Dare 2 B Pretty”. “Freak” is ZibraZibra’s return from digital blackness. Unlocked from a subterranean prison on the planet Zaldos, the Zibroids broke the wild robot steeds of that driftless asteroid, and ponied their way back to Earth, burning hott pink spacedust on a violent re-entry. After cooling down, ZibraZibra began to play what we now know of as “Freak”, showing us a world we may never know through the indigenous melodies of the people living there.

Forever Til It Hurts is a structure built from loose pieces, over time, carelessly, and with great care all at once. Pulling together members of Middlepicker, Space Camp, and Ty Morse, this ensemble produced some radically overcharged home demos, with classics such as “Look, It’s Crumbling” and “Hawt Cops” delivered to doorstep, crushed to bits.

Three vile releases deep on Royalty, Etc. Records, The Night entered the app development space. 6 months and fifty pizza boxes later, they emerged with their prototype — a viral technology so dangerous it should be gathered up and detained along with all the others of its kind until “we” can figure out what to do.

Frontmen Kyle Kosieracki and Scott Hefte collided in a bloodless leadership coup to create the glacially paced but devastatingly awesome post-punk trio Post-hype Sleeper. Backed by technophilic electro-acoustic drummer Mitch, Post-hype wandered the debut desert for years before finally producing, under duress, their excellent self-titled debut.

“Growing up in Big Lake, I don’t know how I ever survived” snarls Choplogic singer Jason Albus; a misfit forced to grow up outside the cultural reach of the nearby big city, teased by its obvious upper hand. Jason and his crew of beautiful losers, Chad, Joe, and Jonathan responded with a fierce catalog of classic albums over their twenty year prowl, producing classic songs like “Make Yr Exit” and “Betty Lou’s Diaphragm”. They rocked, from the age of thirteen, for many mighty years, and at the peak of their power, like so many fine bands, dissipated, playing occasionally but never recording again after the superb Rah Raw Radio of 2006. In 2016, Royalty, Etc. asked Choplogic to reunite in the studio with longtime producer Mike Wisti to create a spiritual sequel to the 1999 “Grickle-grass/Choplogic Split”. The stunning “Grickle-grass/Choplogic Split EP” resulted from these 2016 sessions, which brought these two amazing bands back into the studio to lay sonic waste to their respective legacies. Not long after the fantastically successful 2016 sessions, the plan to reissue the entire Choplogic catalog was hatched. With the help of original engineer Mike Wisti, and the Choplogic boys, Royalty, Etc., recovered original master recordings, located lost tracks, and expanded the great albums Arco Iris, Everything And Less, and Rah Raw Radio with fantastic new material. We welcome Choplogic to the Royalty, Etc. roster and offer their complete catalog, remastered and expanded, for the lonelyhearted and afraid.

After delivering the monumental “Masons” with Grickle-grass, Kyle Kosieracki rallied some barflies and rolled out a new vision of lug-nut-loose, overcharged, punk pop. Middlepicker was born. For the first several albums, Middlepicker teetered between two highly charged electrodes — Kosieracki and Bill Zastera. Zastera’s brilliant songwriting ignited defensive posturing from the more seaworthy Kosieracki, and the rollicking, unstable debut “Middlepicker Brings The Nasty” finally launched after some glorious false starts (see “Middlepicker”). Roaring and free, completed by drum wizard Justin Lawson and bassist/vocalist Kristen Anderson, Middlepicker brought us “The Nasty”, “Overdrive”, and “Top Down” while guzzling pure rocket fuel at an unsustainable rate. Ultimately, pure freedom separated Zastera from the band. (Zastera later revealed the brilliant Collapsticator Release/Relapse.) This all seemed to be the predictable end to the ordnance. Defying marching orders to stand down, Kosieracki retrenched and released the outstanding “Middlepicker Minus Bill”, effectively steering the careening craft back on to the road with classics like “Matinee Days”. This encampment set the stage for what was perhaps the most outstanding of the Middlepicker releases, the overbuilt and spectacular “Your Machine Is My Bastion”. With tracks like the title track, “Deep South”, and “Creel Cup”, Bastion shows a band hauled to the edge of hell and back holding a powerful overstatement, licked with battle scars and the hard eye of a warrior that has buried his comrade.

Ty Morse offers his debut record St. Agnes Eve on Royalty, Etc. Records. RegalTunes offers St. Agnes Eve here on CD or instantly download iPod-ready hi-fi MP3s of this new classic. With a flair for the delicate charm of early ’70s acoustic rock, St. Agnes Eve allows people to enjoy impressionistic melancholy without cheapening themselves on transparent acoustic-rock hipster fodder. Conversely, rockers like “Who Stole the Phone?” also ask the age-old question. You want more? With a flicker of interest in a fellow student’s musical English project, Ty Morse purchased his first guitar in order to participate. His love for music outlasted many of his peers and sent him on a zagging path. A few years after that first guitar, with new co-conspirators Justin Perkinson and Jon Greenlee, Ty co-composed the award-winning original musical Frankenstein: The Rock Opera which enjoyed a sold-out run of performances at its October 2003 world premiere in Charlotte, NC. Thousands of hours and hundreds of songs later, Ty enlisted the help of Producer Jon Greenlee to sort through his growing base of pop songs with an eye on a debut solo record. Several hundred hours further in the future, that record, St. Agnes Eve, awaits you. It is exactly what you’ve been waiting for in those times when you ardently wish there was another Chris Bell record, another Nick Drake record, another Astral Weeks — a time that must be gone, because even the artists that were there no longer capture the right feeling.