Numero Group

Numero Group www.numerogroup.com

Goodbye Duster NYC Wall. We need to figure out how to take you on the road. In less than 90 hours we’ll be packing up th...
09/04/2026

Goodbye Duster NYC Wall. We need to figure out how to take you on the road.

In less than 90 hours we’ll be packing up the NYC store front and embarking on yet another Pop Up tour. It’s been an amazing summer in Lower Manhattan. We got to meet lots of great people, threw some killer shows outside, had pop-ups inside our pop-up, and made lots of sick exclusive merch and records. Help us bid a farewell to the shop this weekend with Co-Founder Ken Shipley, who will be helping out with some curated picks alongside Simple Machines & Tsunami’s Kristin Thomson providing vibes galore. This might be your last chance to pick up NYC exclusives like Pizza Disco, Numeroteria, and our Knicks gear so come by. Where should we post up next?

The 1993 split point between pop punk and emo is no better illustrated than by Garden Variety’s self-titled debut.Born i...
09/04/2026

The 1993 split point between pop punk and emo is no better illustrated than by Garden Variety’s self-titled debut.

Born in a Long Island living room and forged in the late-night hours, this record is driving, uptempo-emocore at its finest. Muscular octave chug, backbeat heartbreak, and no need for FX. While Billy and Bivouac flirted with the mainstream, Garden Variety proposed at the post-hardcore prom. They were somewhere between Squirrel Bait, HuskerDü, The Replacements, Jawbreaker and Fugazi, with a side of late night work at the local diner.

A foundational record for emo, and a reminder to thank Charles Maggio the next time you see him at the Paramus mall. Garden Variety are playing the 23rd Numero Group Anniversary Festival in NYC this November on Night One, which is sold out, but we have a few more bundle tickets left.

Will we be seeing you there?

All roads lead to DCAs you’d expect from a city where politics, protest, DIY culture, and music have always collided we’...
09/03/2026

All roads lead to DC

As you’d expect from a city where politics, protest, DIY culture, and music have always collided we’ve got lots of killer recommendations in this guide. From the spiritual funk of Father’s Children and Robert Hosea Williams’ Red Black & Green Productions to the blistering Revolution Summer of Carpe Diem and Tsunami’s sharp distorted indie rock, these records and more trace some of the many paths through the capital’s musical underground. They reveal a part of D.C. history that runs far deeper than the Dischord Records canon and is way funkier too.

We’re looking forward to hearing what else D.C. has hiding. What overlooked Washington D.C. records should we be listening to on our way to the Pop Up on September 10th.

By the time Majesty Crush’s 1993 debut, Love 15, came out, they already shared stages with Mazzy Star, Sonic Youth, The ...
09/03/2026

By the time Majesty Crush’s 1993 debut, Love 15, came out, they already shared stages with Mazzy Star, Sonic Youth, The Verve, Curve, Chapterhouse, and My Bloody Valentine.

In the early ‘90s, Detroit’s underground was a collision of hardcore, indie rock, techno, and experimental music, and the place Majesty Crush got to experiment beyond genre definitions in 1990. Combining shoegaze, dream-pop, punk, psychedelia, and grunge their sound was difficult to pin down.

At the center of the band was frontman David Stroughter, whose fascination with fame, obsession, s*x, and desire gave Majesty Crush a distinct edge. “If someone touches you, you can cling onto that,” Stroughter once said of his crush-centric songwriting. “That’s the whole thing about being a fan.” His lyrics transformed infatuation into something darker and more complicated, while Hobey Echlin’s melodic bass, Mike Segal’s fractured guitar textures, and Odell Nails III’s propulsive drumming gave those stories a volatile backdrop.

Their 1993 debut, Love 15, arrived just as the major-label rush for the “next Nirvana” was in full swing. Majesty Crush had already shared stages with Mazzy Star, Sonic Youth, The Verve, Curve, Chapterhouse, and My Bloody Valentine, and were ready to move beyond Detroit. Instead, their label, Dali/Chameleon, folded just one month after the album’s release. The band continued on, releasing Sans Muscles in 1994 before disbanding the following year.

Three decades later, after master tapes were discovered in an old roommate’s closet, Numero Group assembled a comprehensive collection of the band’s work including singles, EPs, and rarities to what had felt like a lost chapter of the ‘90s shoegaze /dream pop story.

One of the greatest D.C. Soul Albums sat unreleased for almost 40 years before going on to be sampled by Lil Wayne, Wiz ...
09/02/2026

One of the greatest D.C. Soul Albums sat unreleased for almost 40 years before going on to be sampled by Lil Wayne, Wiz Khalifa and Jack Harlow and becoming an essential record for collectors and music fans alike.

In April of 1979, the lone long-playing release by Father’s Children hit retail and radio with a dull thud. It had been a down spring for Mercury Records, with the Osmonds on their way out, the Gap Band on their way up, and Roadwarrior, Alfie Davidson, Hamilton Bohannon, and Father’s Children caught in the trough between two crests. Produced by the Crusaders Wayne Henderson, Father’s Children—a self-titled, ten-song affair—culled together the work of a band already a solid decade into their Washington, D.C., escape plan. They had even gone so far as to call their album’s first and only single “Hollywood Dreaming.” But with the release of their eponymous debut, the dreams of Father’s Children—Hollywood or otherwise—were over.

Long before Mercury, Father’s Children had grown out of Washington, D.C.’s Adams Morgan, evolving from a doo-wop trio into a sprawling, spiritually searching funk ensemble. The group faced constant lineup changes, management upheavals and financial struggles by the time they had recorded an entire album with producer Robert Hosea Williams in 1973.

The album should’ve introduced them to the world but instead it disappeared into Williams’ garage where the tapes sat untouched for decades. Who’s Gonna Save The World has now become an essential in many record collections, has been sampled dozens of times by the likes of Jack Harlow, Celestaphone, Cordae feat. Lil Wayne, Logic feat. Wiz Khalifa, and is highly sought after.

Its gritty D.C. soul, psychedelic funk, spiritual harmonies, fuzzed-out guitar, bubbling percussion, and cosmic grooves have proven remarkably timeless and it’s finally getting a repress.

“Revolution Summer saved my life,” Denckla admitted. “We were there.”SEQUOIA SPOTLIGHT: CARPE DIEMIn July of 1984, a ful...
09/02/2026

“Revolution Summer saved my life,” Denckla admitted. “We were there.”

SEQUOIA SPOTLIGHT: CARPE DIEM

In July of 1984, a full year before Revolution Summer, Rites of Spring played their first show at Food for Thought, a vegetarian restaurant near Washington, D.C.’s Dupont Circle. 16-year-old Bethesda blockmates Derek Denckla and Ravi Ricker, who had been commuting into the District for shows since they hit puberty, were shown a glimpse of what the scene could become. “It was really intimate, and really intense emotionally,” Denckla recalled. “It forever changed my vision of what music could be.”

That fall, Denckla and Ricker formed Carpe Diem with bassist Chad Houseknecht and drummer Alex Daniels. They quickly immersed themselves in the District’s new wave of hardcore, moving from community-center shows with Dag Nasty and Gray Matter to Armed Forces Day protests with Beefeater and a Jello Biafra legal defense benefit with Soulside. For Denckla, he was no longer simply consuming music, but discovering the “seamless connection between performer and audience.”

Carpe Diem caught the attention of Dischord’s Ian MacKaye, who offered to help when they were ready to record. Pooling Ricker’s birthday money with Denckla’s savings from a lucrative lawn-mowing business, the teenagers booked two days at Don Zientara’s Inner Ear studio in Arlington, Virginia, to record their entire eight-song oeuvre. MacKaye joined them for the June 23–24, 1986 sessions, “I remember my hand shaking when I was calling because I was so nervous and excited,” Denckla said.

The resulting recordings weren’t quite the Rites of Spring-inspired chaos Carpe Diem had imagined. Denckla wanted something “tribal and fu**ed up and kind of crazy,” but Zientara heard something more melodic in their sound. The finished songs landed closer to Celebrated Summer than Revolution, with flashes of Minneapolis punk jangle cutting through their youthful intensity. MacKaye largely remained behind the board with Zientara, offering suggestions but resisting the role of the “punk rock dad” the band had hoped for.

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09/01/2026

Announcing: Eccentric Folk Soul

The LP that kills fascists

What exactly is Folk Soul? It’s not the contemporary roots-rock or country-adjacent ballads you’re probably familiar with. Folk Soul sits right before, if not directly alongside, the black music diaspora of the mid-to-late 60s through the early 70s. Where Spiritual Soul channels the ethos of pro-black liberation and the broader struggle of its era, Folk Soul lived in the dissection, classification, and outright denial of the status quo — confronting the complex, rigid power struggles of the time through minimalist, classically trained, and forward-thinking approaches to song craft. The next addition to our Eccentric Soul series pulls some deep cuts from the vault for the perfect compilation featuring Shira Small, Trevor Dandy, Alice Swoboda and more.

It’s always sunny in NumerodelphiaWe’ve been digging back through some deep corners of the catalog in preparation for ou...
09/01/2026

It’s always sunny in Numerodelphia

We’ve been digging back through some deep corners of the catalog in preparation for our first stop in the City of Brotherly Love. Post-hardcore Philly style with Frail’s noisy rage, Shira Small’s beautiful outsider soul recorded at a Quaker boarding school, Jabneel’s ear-rot gospel, the tender 1965 soul of Camden sisters Toni & the Hearts and Charles Grossman’s electro-funk. We’re revisiting these classics and looking forward to digging into what else the city has in store when we’re in Philly on September 9th. What should we be listening to?

08/31/2026

What the f**k is a Numero Group and why should I go to their pop up tour?

We’ve been all over the map this year and are about to wrap up our summer stint in New York City with one last weekend before we hit the road for a bit and make a few stops on the way home. Once again helmed by Numero co-founder Ken Shipley and Simple Machines co-mastermind Kristin Thomson, we’re taking the van through a select few locations along the East Coast and Midwest that we missed last time. We’ll be out there carting records with big sales, titles both in and out of print, CDs, LPs, Cassettes, shirts, hats, Duster cats and dingers galore. We highly encourage you to RSVP so that we can make every record dream come true. Where will we be seeing you?

Wed 9/9/2026 - Philadelphia, PA
Thu 9/10/2026 - Washington, DC
Fri 9/11/2026 - Baltimore, MD
Sat 9/12/2026 - Pittsburgh, PA
Sun 9/13/2026 - Columbus, OH
Tue 9/15/2026 - Columbia MO
Wed 9/16/2026 - Kansas City
Thu 9/17/2026 - Omaha, NE
Fri 9/18/2026 - Des Moines, IA
Sat 9/19/2026 - Minneapolis, MN
Sun 9/20/2016 - Minneapolis, MN

08/30/2026

Outside of our emo / indie world we’re dropping about three tracks a day. Soul, country, ambient, we’ve got it all to round out your taste and we have a few recommendations from this month to get you started. What would you want to hear more of from us?

“Shut In / Shut Out” - Chandra

Pioneering late 70s New York post-punk/ no wave fronted by 12-year-old Chandra Oppenheim. Full of juvenile unfiltered perspective with hypnotic basslines, off-kilter synths, and infectious grooves. If you like Noise Addict or X-Cetra you need to check out Chandra.

“Silver Wheel” - Gigi Masin

For fans of private press, new age and ambient releases like Laraaji and Master Wilburn Burchette, Gigi Masin’s peerless infusion of minimal piano tree piano, tree classical, and Balearic new age is the aural equivalent of swimming alone in warm water by moonlight.

“Dazzle You” - Dazzle

Twin sisters Paulette and Claudette Patterson’s debut album as Dazzle, “Soul Sisters,” on Jam Today Records, was a street soul favorite as they fused their silky blood harmonies, drum machines, and club-ready soul into their signature sound.

“Ya Mar” - The Mustangs

The lore behind this calypso groove machine runs deeper than most Phish heads realize. Plenty know the track - few know it’s a cover.cLegend has it Mike Gordon stumbled onto the Mustangs’ version while vacationing in the Caribbean, smuggled the tape home, and taught it to the band. But trace it further back and you’ll land on Cyril Ferguson of Dry Bread, whose 1974 original sparked the Mustangs’ rendition in the first place. The Mustang’s Ya Mar locks into a hypnotic jam that pulses relentlessly towards the dance floor.

“There is No Greater Love” - Jean Johnson Singers

A super rare gem from the Milwaukee, WI gospel label Hummingbird, Jean Johnson Singers’s There Is No Greater Love straddles the line between gospel ballad and soul burner.cThe heavenly grooves and angelic choral arrangements are destined for the crates of samplers and soul diggers alike.

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