Search:ant to be

Don your bandanas, leather jackets and distressed jeans, because heavy metal is about to shine brighter than ever as Swedish newcomers BOMBER bring back the hottest era in hard rock history. Asserting their own trademark blend of 70s and 80s inspired classic and hard rock with catchy hooks, top-notch guitar solos and a vibrant aesthetic, BOMBER brings you their debut album, Nocturnal Creatures, via Napalm Records! After explosive live shows in Sweden and a subsequent tour of Germany, the hard rockers prove that the glorious era of rock isn’t over and that they’re already setting the highest standards on Nocturnal Creatures. On ten powerful tracks, BOMBER turns the night into an intoxicating adventure that convinces both old and new fans of the prominent classic and hard rock genre. Album opener and title track “Nocturnal Creatures” opens the gates with epic storytelling and interludes the following passionate ride through “Zarathustra”. With fiery vocals, melodic guitars and untamable drum-play, the track gets the listener’s pulse pumping, while “Fever Eyes” ensnares with wistful weeping choirs and guarantees a quickly increasing temperature. “Black Pants Magic” emerges into an unforgettable high-class rock experience through its industrious and catchy hook, while songs like “A Walk Of Titans (Hearts Will Break)” and “You’ve Got Demons” surprise with dynamic melodies and Anton Sköld’s powerful voice. On “The Tiger”, BOMBER send their listeners right into the eye of a raging thunderstorm of riffs driven by brilliant grooves, while “Kassiopeia” sets the strings on fire with its marvelous solos. Bursting album closer “Aurora” presents Nocturnal Creatures’ crowning achievement, bringing the 40-minute escapade to the edge of the world. With their new studio album, Nocturnal Creatures, the rising stars of Sweden establish a milestone in the legacy of hard rock that leads the once so majestic genre to new glory – marked by their very own special vision!

2022 Catalog Vinyl Re-Pressings, mastered for VINYL by DAVE OTERO (Khemmis, Cephalic Carnage, Cattle Decapitation, Allegaeon and more). HUMANURE is the fourth full length release from Metal Blade Records' CATTLE DECAPITATION. The album features guests performances by Gabe Serbian, Justin Pearson and Robert Bray of The Locust. Many view HUMANURE as the turning point in CATTLE DECAPITATION's development from underground vegan and animals rights activists to grind / death metal hierarchy. HUMANURE undoubtedly set the tone for Cattle's subsequent rise, situating the band in 2022 as one of the top in the field.

The New Jersey songwriter might have started out banging on doors, gigging at New York City's blues clubs, and playing piano until her fingers bled. She is winning over the city one show at a time. But lately, the multi-instrumentalist has raced through career milestones at a rocket pace. There was her Blues Blast and
IBMA-nominated 2018 debut album, High and her international breakout on Ruf's 2022 Blues Caravan Revue. Resulting in the starburst of media acclaim, including Henry Yates of Classic Rock, NME and The Guardian, who saluted "a runaway talent you need to keep up with." Now with Ruf's release of the second album, On
My Way, Katie has found another gear. Whether slinging her trusty Gibson SG, hammering the keys, or hollering a storm, these ten original songs, co-written with bassist and slide- guitar maestro Antar Goodwin, announce her as an alchemist who creates gemstones from the base metals of American roots. Recorded at Brooklyn's Degraw Sound studio in May 2021, On My Way is the profoundly personal second album on which Katie gives you her beat-up heart. "A lot of these songs are about letting go," she considers. "And how scary, but ultimately liberating, it can be…."

Classic Marty Robbins album pressed on limited edition 180g vinyl
picture disc.

This quintessential release features Marty Robbins' most celebrated album, originally issued on the Columbia label: 'Gunfighter Ballads and Trail Songs' (1959). With his cowboy albums, Robbins helped keep western music alive during the late '50s and early '60s, and the warm, affectionate spirit of this music illustrates why.
Here you will find such country favourites as "El Paso," "Big Iron" and "Cool Water," and a classic version of "Billy the Kid," among other western standards. These songs are about work, love, travel, death, the beauty of the American West, and living life on your own terms (and paying the price for it). Robbins' subject is mostly the West of myth and movie, which benefits from his ability as a storyteller
- most of the tracks may tell tales heard or seen one hundred times onscreen, but he makes listeners feel like this is the first time they are hearing them, creating the excitement and anticipation of a poet in the middle of a spellbinding recital.
This sensational album has been remastered and packaged in this incredibly special collector's edition, which also includes 4 bonus tracks from the same period.

2022 Catalog Vinyl Re-Pressings, mastered for VINYL by DAVE OTERO (Khemmis, Cephalic Carnage, Cattle Decapitation, Allegaeon and more). K.B.K. sees Cattle Decapitation out doing themselves with more diversity, rage and antagonism than prior releases. Definitely a turning point for the band musically and logical first progression to what the band is now; Unabashed, unique grind.

This quintessential release features Marty Robbins' most celebrated album, originally issued on the Columbia label: 'Gunfighter Ballads and Trail Songs' (1959). With his cowboy albums, Robbins helped keep western music alive during the late '50s and early '60s, and the warm, affectionate spirit of this music illustrates why.
Here you will find such country favourites as "El Paso," "Big Iron" and "Cool Water," and a classic version of "Billy the Kid," among other western standards. These songs are about work, love, travel, death, the beauty of the American West, and living life on your own terms (and paying the price for it). Robbins' subject is mostly the West of myth and movie, which benefits from his ability as a storyteller
- most of the tracks may tell tales heard or seen one hundred times onscreen, but he makes listeners feel like this is the first time they are hearing them, creating the excitement and anticipation of a poet in the middle of a spellbinding recital.
This sensational album has been remastered and packaged in this incredibly special collector's edition, which also includes 4 bonus tracks from the same period.

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

Synth enchantress Poly Chain returns to Dom Trojga for a smashing full EP release! Hailing from Kiev, she first made a name for herself during the years she spent in Warsaw, releasing her debut LP and becoming a fixture on Poland's underground scene. After returning to Ukraine, she spread her wings further, with exciting releases and regular international appearances only briefly thwarted by the pan-demic. Her long-anticipated EP for Dom Trojga is a treat in her signature style - filled to the brim with incessant, psychedelic arpeggios racing over raw and direct beats. The opener "Kie?" is an unfor-giving electro tune with a huge snare (we like) and tight, unsettling synthwork. "Visa" offers some much-needed hypnotic comfort, and on the flipside, "Acid Regular" hits the floor again with a serious groove, while "Visa Reprise" closes off in a deep, echo-laden fashion. The cover is a drawing by the inimitable Bartosz Zaskórski - an illustrator, sculptor and sound artist, whose uncanny, twisted bio-mechanical visions have been haunting us for years. Take a bite of Dom Trojga!

Emel Mathlouthi is a Tunisian author, composer,performer and producer whose music has crossed time, countries and continents.

‘Kelmti Horra’ celebrates its tenth anniversary this year. Ten years of passion, protest and free speech: this album marked the year 2012,
becoming the Arab Spring anthem.

Upgraded gloss 2xLP gatefold sleeve (original press was 2lp non-gatefold and standard weight) with new liner notes and printed sleeves.
With a career spanning two decades and 12 releases, L.A. hip hop duo
People Under the Stairs bid farewell with their final LP last year.
Their unique self-produced legacy earned them the designation “The Steely Dan of Hip-Hop” and built a fanbase of millions around the globe. Now, for the first time ever, they are re-issuing their long out of print, 2002 classic O.S.T. with a revamped gatefold gloss cover, updated liner notes and printed sleeves featuring 100+ print reviews from the original release date.
Almost two decades in the making and with the original vinyl constantly fetching over 125$ online this highly anticipated reissue is sure to please both new and old fans alike. .
Focused Facebook, Instagram and Twitter campaign to combined 150K followers with distinct purchase call to action and ad budget allotted, as well as
10K+ group email list.

'Dwell Time' focuses on the moments in between. Expanding on Satie's Furniture Music, which explores the role of music as a backdrop, Dwell Time explores the moments in between active and passive listening. A sound that maintains a unique balance of properties can start as an active relationship that slowly dissolves into the background and accompanies a listener over its course. The Dwell Time signal remains completely analog, utilizing homemade tape samples and hardware synthesizers to encourage the listener to move between the different states of listening. Produced by Rafael Anton Irisarri and Mastered by Taylor Deupree.

RED/YELLOW MARBLED Vinyl

Internationally revered, multi-faceted artist Arnaud Rebotini arrives on Veyl with the new EP, 'New Territory'. While venturing into a wide array of musical genres and sonic realms, the release is still unmistakably Rebotini, fueled by infectious electro-body grooves and hypnotizing vocals.
From the utterly addictive, pulse pounding allure of “Special A” to the more industrial techno strains of 'A Noise Rose', Rebotini delivers a myriad of interconnected tracks which traverse fresh auditory landscapes but maintain a common circuitry. The poignant, anthemic lyrics of 'No More Love (No More Hate)' resonates loud and clear while the throbbing, Giallo flaire of 'Italian Sex Drive' sends shivers down the spine.
'The Pale Eastern Christ' injects a haunting atmospheric mood while the title track is irresistible ebmwave that falls perfectly in between the lines for an indelible sound that only the French producer can conjure. Rebotini’s work continues to shatter boundaries and fuse genres while essentially pioneering a category all of his own. 'New Territory' furthers the legend and keeps us begging for more.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you'll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says "California," a place where lonely people gather together like birds. The song "Rubberneckers" follows the story a romance from beginning to break?up, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, "With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist." If every great record is a world, then this is Christian Lee Hutson's world. It's one filled with the fuzzy haze of a dream, and the half-remembered moments of a for?gotten life. It's a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.

From the shadows of Slovenia, Shadow Universe is an instrumental music project, creating breathtaking cinematic soundscapes from post-rock, neoclassical/ambient and post-metal elements. Their third album, Subtle Realms, Subtle Worlds is released on 11 March 2022 worldwide on Monotreme Records. Formed in 2017 by Peter Dimnik and Žan Šebrek, Shadow Universe merge contrasting textures of shimmering ambient soundscapes and heavy anxious darkness to portray the diversity of nature and life on earth and beyond. Subtle Realms, Subtle Worlds: Every person experiences the world differently, which puts us into our own unique bubbles, subtle worlds. Subtle Realms, Subtle Worlds finds the band turning their songs into living, breathing ecosystems, carefully dissecting every moment of peace and chaos alike. The album sees the building particles of the universe as separate worlds, with their own story, perception, rules and individual inner realm. Opening track Organism, which portrays the coherence of forming organisms; from a vast universe itself down to the tiniest building particles of it, sets the tone with its slow, tense build to crushing, exhilarating peaks. Don’t Look at It and You’ll See It evokes free-flowing spontaneity through beautiful cascading piano and emotive violin, towering guitars, and soaring synths. Masterfully harnessing both the quiet and the loud, Hymn for the Giants glorifies our almighty and precious trees, with moments of calm cut apart by vast swathes of brutal, yet considered, cacophony. Losing Home’s portentous, droning synths and trumpet ratchet up the suspense, while on Antares Goes Supernova the band carve out layer upon layer of affirming and effecting riffs, each one more powerful than the last. Season of Eternal Maze wraps up the album with a meditative piano and harmonium, wide guitar driven melodies and guides you to your inner maze.

Another new colour pressing we have 200 only white vinyl coming in Mrch. Single LPs w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack “Night City Aliens” and 2018’s critically acclaimed album Only Love, which landed on ‘Album of the Year’ lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. A livestream performance confirmed for same day. Videos for all three focus tracks (“All Futures”, “Average Death” + “An Iteration” are completed and will be released along with each song.

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

New West Records is proud to present the reissue of two classic Antone's Records blues titles.

These two titles have been remastered for vinyl. Each LP is displayed in a beautiful, one of a kind package (leather texture, die- cut, embossed logo) and pressed onto 180- gram vinyl that is manufactured in the USA. These limited edition pressings are now available on color vinyl for the first time. Pressed on 180 gram Cherry Red Color Vinyl.

Don’t Go Throwing Roses In My Grave is the first solo record by beloved frontman of The Menzingers, Gregor Barnett Devoted Menzingers fans will love its electrified Americana riffs, yearning
melodies, driving beats and indelible lyrical imagery. The Philadelphia based singer/ songwriter is telling his stories with a folkier style then he does in The Menzingers, but his stories are just as moving and compelling.

Repress

Dancefloor Damage all the way. The new Soul Notes VA 12'' has been building anticipation all around.

Since it includes 4 of the most in demand names from the rough house scenes at the moment, this one is not to be missed. Labelowner Kastil pulled out the big guns and got soul notes usual Fulbert on one record with himself and the ever so amazing Malin Genie who has been making waves through the whole of europe with his thumping sound. Fulbert, Kastil and Malin delivered 3 excellent productions that will perfectly fit into one peaktime set.

This is music for the dancefloor and nothing else. Bass bin wrecking club slicers for true house heads.

Last but not least, the excentric Jefferson Belmondo makes an appearance With a disco'ish anthem called Booty Groove. The title kind off reveals where he's coming from as Jefferson might be unknown for most, on the streets of Miami he is a bonafide legend. After spending most of his life in shady motels and as a DJ in extravagantnightclubs, Jefferson finally took out his old DAT tapes and got this track to Kastil through a mutual friend.

All and all, Many Shades of Soul Notes Vol.1 is a peaktime record that is above all meant for clubplay.

This fine package includes a 180GR 12'' and a designed sleeve. This 6th installment in the Soul Notes series will be available from
March 4th through all respected retailers.

The iconic global pop star Charli XCX, announced CRASH, her highly-anticipated forthcoming album, releasing 18th March 2022. She also released ‘New Shapes’ featuring Caroline Polachek and Christine and the Queens.

The announcement of CRASH followed her latest single, ‘Good Ones’, a track signalling a new chapter for Charli in which she embraced all that the life of a pop figurehead has to offer in today’s world.

Producers and collaborators include A. G. Cook, George Daniel, Deaton Chris Anthony, Lotus IV, Caroline Polachek, Christine and the Queens, Oscar Holter, Digital Farm Animals, Rina Sawayama, Ian Kirkpatrik, Jason Evigan, Justin Raisen, Ariel Rechtshaid, Ilya, Oneohtrix Point Never, Jon Shave and Mike Wise.

In addition, Charli XCX revealed a European and North American tour, with shows in Los Angeles, London, Paris and more. Tickets go on sale to the general public on Friday 12th November, with ticket presales beginning Wednesday 10th November.

New West Records is proud to present the reissue of two classic Antone's Records blues titles.

These two titles have been remastered for vinyl. Each LP is displayed in a beautiful, one of a kind package (leather texture, die- cut, embossed logo) and pressed onto 180- gram vinyl that is manufactured in the USA. These limited edition pressings are now available on color vinyl for the first time. Pressed on Limited Edition 180 gram Purple Color Vinyl.

Following the release of his exhilarating recent album Bring Backs, London based producer, pianist, bandleader and MC Alfa Mist today announces news of an upcoming EP, Two For Mistake alongside the track 'Bumper Cars'. The EP, out via ANTI-, will be available digitally on 17th November before getting a physical 10" vinyl release on 18th March 2022. Alfa's upcoming tour will be starting in November in the UK and starting Janaury for mainland Europe. The run will be the first time fans will be able to hear tracks from Bring Backs, and Two For Mistake, in a live setting. Bring Backs marked Alfa's first release for the label ANTI- and is also the most detailed exploration of his upbringing in musical form, one which has resonated with audiences to the tune of 7.5 million culuated streams to date. The album's nine tracks of groove-based intricacies, lyrical solipsism and meandering fragmentations are tied together by a remarkable poem written by Hilary Thomas expressing the sensuous realities of building community in a new country. Entirely written and produced by Alfa, the album was recorded in London with a core band of longtime collaborators including Jamie Leeming (guitar), Kaya Thomas-Dyke (bass and vocals) and Johnny Woodham (trumpet).

"This is the kind of songwriting I've always been drawn to," says Jeremy Ivey. "The perpetual motion, the intricate melodies, the sprawling arrangements. This album is the real me." Juxtaposing raw, unflinching personal reckonings with jaunty, buoyant melodies and rich, kaleidoscopic production, Invisible Pictures, Ivey's third album for ANTI- Records, is indeed a revelation. Though the songs are rooted in a 21st century swirl of chaos and uncertainty, the record is, at its core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated joy of creative freedom and sonic exploration here, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album more reminiscent of John Lennon or Elliott Smith than anything coming out of Nashville these days. "I try to put a little bit of hope into everything I do," Ivey reflects. "No matter how heavy, no matter how dark things may get, there's always a little bit of light shining through."

In 2002 well-known for his albums by the progressive rock project Ayreon, Star One “Space Metal” is an exciting project from one of rock's great visionaries, Arjen Lucassen. With its stellar musicianship, visionary production and a simple yet far-reaching concept, Star One “Space Metal” shines bright as a giant sun in the galaxy of rock. “Space Metal” isn't a continuous story or a rock opera like the Ayreon albums. Yet it is still very much a concept album and a journey through Arjen's mind and memory. He takes the listener on a trip where they relive those great science fiction space films that made such an impact on him. Without a doubt Arjen Lucassen set a trend with his Ayreon albums. Especially after the highly successful release of “Into the Electric Castle” many musicians and producers have followed in his footsteps and new rock operas with multiple singers are surfacing all over the world. To ensure to keep the involved voices diverse he used very different sounding singers appearing in the same songs -- different singers for different moods. Dan Swano (ex-Edge of Sanity, Nightingale) sings the low parts, Russell Allen (Symphony X and more) sings the powerful rough parts, Damian Wilson (ex-Threshold, Headspace) sings the high clear parts, and to top it off, Floor Jansen (Nightwish) sings the really high choruses. Robert Soeterboek (Ayreon) sang the backing vocals with his huge smoky voice. Of course Ed Warby played the powerful drums, and Erik Norlander once again added his huge analog synth leads. Arjen also managed to get Jens Johansson (Yngwie Malmsteen, Dio, Stratovarius) who played some incredibly fast synth leads as well. Arjen even succeeded in getting Hawkwind's Dave Brock to make a guest vocal appearance, something no one has ever managed to do before. “Space Metal (Re-issue 2022)” is available as: Ltd. 2CD Digipak, Gatefold 2LP+2CD & LP-Booklet and Digital album (2CD).

Via tape loops and synth motifs sent from LA to NY, sound artist Christopher Royal King has teamed with violinist and composer Christopher Tignor toward richly timbral, emotionally gripping works of spontaneity that unfurl immense details with each replay while marrying west coast outboard-ambient to studied east coast modern classical. The resulting debut album, A Wave From A Shore, exhibits both artists' sonic identifiers falling in and out of cooperation before binding into a new entity distinct from either's solitary palettes. A visual artist whose work includes album covers for Thrice and Deftones in addition to video bumps for Adult Swim, Christopher Royal King spent his teenage years cutting his teeth on heavy metal and punk before gravitating, quickly and perhaps unexpectedly, toward experimental composers like Philip Glass and Terry Riley. This unlikely seesaw of influences led directly to King forming the post-rock pillar This Will Destroy You with fellow San Antonio native Jeremy Galindo. Similar to his former band's output, King's solo meanderings impart a mood of buoyancy and contemplation while hinting at darker, more shadowy hues beneath the glimmer, making his music stand apart from the glut of New Age droners and modular-synth influencers.

Robert Hampson, the indefatigable visionary behind inspirational sonic architects Loop, whose eagerly anticipated fourth LP Sonancy (Latin for “to create noise”) is the perfect document for these strange times. Dynamic, dystopian, righteously angry and unashamedly Loop-ian, it’s an album that marks a vital re-emergence for Hampson and co. Formed in South London in the mid-1980s, Loop blazed a trail with their potent mix of motorik beats and heavy guitar riffs, recording a trio of brilliant albums that set the indie charts alight before imploding in 1990 after the release of album number three, A Gilded Eternity. As critics enthused at the time, Loop were the sound of Suicide jamming with the Stooges aboard a spaceship built by Hawkwind and piloted by CAN. They were post-psychedelic, pre-shoegaze figureheads in a world of anodyne pop jangle and baggy rhythms, and even their closest contemporaries like Spacemen 3 and My Bloody Valentine didn’t plough such a distinctive furrow as theirs. Today, Loop stand as innovators in a musical world that has embraced and followed their defiantly individual sound – there are hundreds of contemporary neo-psych artists out there who arguably would not exist without Loop’s pioneering music, music that continues to evolve and grow in the most startling of ways on Sonancy.

Robert Hampson, the indefatigable visionary behind inspirational sonic architects Loop, whose eagerly anticipated fourth LP Sonancy (Latin for “to create noise”) is the perfect document for these strange times. Dynamic, dystopian, righteously angry and unashamedly Loop-ian, it’s an album that marks a vital re-emergence for Hampson and co. Formed in South London in the mid-1980s, Loop blazed a trail with their potent mix of motorik beats and heavy guitar riffs, recording a trio of brilliant albums that set the indie charts alight before imploding in 1990 after the release of album number three, A Gilded Eternity. As critics enthused at the time, Loop were the sound of Suicide jamming with the Stooges aboard a spaceship built by Hawkwind and piloted by CAN. They were post-psychedelic, pre-shoegaze figureheads in a world of anodyne pop jangle and baggy rhythms, and even their closest contemporaries like Spacemen 3 and My Bloody Valentine didn’t plough such a distinctive furrow as theirs. Today, Loop stand as innovators in a musical world that has embraced and followed their defiantly individual sound – there are hundreds of contemporary neo-psych artists out there who arguably would not exist without Loop’s pioneering music, music that continues to evolve and grow in the most startling of ways on Sonancy.

Hygiene is the upcoming album from Drug Church. Hygiene is the latest work from Drug Church. The Albany and Los Angeles-based five-piece have a unique ability to make distinctly outsider music that’s also welcoming and instantly satisfying, as evidenced by Hygiene's lead singles "Million Miles of Fun" and "Detective Lieutenant." The two songs represent the essential tension between overt melody and visceral aggression that fuels Drug Church—the former pushing the band's seamless blend of hardcore bite and massive, '90s-indebted hooks to its most anthemic point, while the latter shows off a level of tunefulness never before seen in their catalog.

For the second chapter of his odyssey, we find again Le Commandant Couche Tôt in the middle of the Amazon River, escaping from drones and wildfires in a hovercraft.
Une Histoire d’Amour Brésilienne (A brazilian love story) shares a dystopian vision widely inspired by the environmental issues of 2020 and 2021, which illustrates a form of anxiety toward the future.
Its soundtrack however is purposely the antithesis of the story: a very optimistic tribute to space-disco and brazilian funk. A “good vibe” pill to give hope for a new beginning.

Tape

Limited to 100 CASSETTES Fairground of Tears’ ‘Execution’ is a 10 track EP of heavy, noisy techno, containing 5 original tracks and 5 remixes from Melania., Phin, Pre Silent, Antechamber and Tomohiko Sagae. Conceptually, the release explores the multi-perspectival facets of the serial killer phenomenon, both the victim and the killer, but also the role of the voyeur, which in this instance, the listener becomes. Fairground Of Tears is a London based producer, resident DJ at Noise Orchestra and the founder and curator of the London event series, Exiled. credits Mastered by Joe Farr Artwork by Hila Angelica Mazzocco

The long awaited third volume of our "Algo salvaje" series, featuring untamed 1960s beat and garage nuggets from Spain. "Algo salvaje" is an anthology devoted to a rich period when hundreds of bands appeared all over Spain and, after paying attention to what their US and British contemporaries were doing, found their own way to vent their teenage rebellion through loud guitars. With amazing results! Many of the 28 tracks are reissued for the first time, including very hard-to-find records. This double LP gatefold package includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos. "Algo salvaje" ("Something Wild"), now reaching its third volume, celebrates the darkest, neglected and rebellious side of Spanish beat. Internationally labelled as nuggets (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock & roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe which included anonymous musicians, independent record labels with impossible names and ridiculously limited pressings, often not more than a few hundred copies. The tracks chosen for the occasion, a selection filtered strictly by their musical value, adhere to the rules of the classic nugget genre while demonstrating the permeability of garage sound and its inevitable evolution at the turn of the decade (1967-1974) through mixes that embraced psychedelia, soul and even prog rock. Epic and pretty wild. Just the kind of material that this record label usually handles. Many of the 28 tracks are reissued for the first time, including extremely hard-to-find records. This double-LP package includes extensive notes by genre-expert Vicente Fabuel featuring all the original record sleeves and artist photos. So let the band play...

Mercurial London artist Nilüfer Yanya announces her hugely anticipated second
album, ‘PAINLESS’, for release via ATO Records.
 ‘PAINLESS’ is the follow-up to Nilüfer Yanya’s renowned 2019 debut album, ‘Miss
Universe’, which fully established her as a singular artist and a distinctive voice that
simply has to be heard.
 The critically acclaimed ‘Miss Universe’ - a widescreen concept record that took a
tongue in cheek swipe at the most self-involved corners of the health and wellness
industry - was followed last year by the three song EP ‘Feeling Lucky?’, which further
explored Yanya’s fascination with ‘90s alt-rock melodies and drew on themes of
resentment, her fear of flying, and the concept of luck. Pitchfork summed up ‘Feeling
Lucky?’ and her now peerless songwriting aptitude best: “Nilüfer Yanya’s melodies
have a pull so strong they almost necessitate their own law of physics.”
 Yanya also re-released her early EPs on vinyl for the first time this year, on the
record ‘Inside Out’. The release is a fundraiser for Artists in Transit, a collaborative
not for profit group she founded with her sister Molly that delivers art workshops to
displaced people and communities in times of hardship.
 As the daughter of two visual artists (her Irish-Barbadian mother is a textile designer
and her Turkish-born father’s work is exhibited at the British Museum), creativity was
always destined for Nilüfer Yanya’s future. Now she enters the next stage of her
creative journey - Yanya is running head first into the depths of emotional
vulnerability on her sophomore record, ‘PAINLESS’. The album was recorded
between a basement studio in Stoke Newington and Riverfish Music in Penzance
with ‘Miss Universe’ collaborator and producer Wilma Archer, DEEK Recordings
founder Bullion, Big Thief producer Andrew Sarlo and musician Jazzi Bobbi.
 Where ‘Miss Universe’ stretched musical boundaries to include a litany of styles from
smooth jazz melodies to radio ready pop, ‘PAINLESS’ takes a more direct sonic
approach. By narrowing down her previously broad palette to a handful of robust
ideas that revolve around melancholy harmonies and looped industrial beats to mimic
the insular focus of the lyrics, Yanya has smoothed out the idiosyncrasies of previous
releases without losing what is essential to her.
 ‘PAINLESS’ is a record that forces the listener to sit with the discomfort that
accompanies so many of life’s biggest challenges whether it be relationship
breakdowns, coping with loneliness, or the search for our inner self. “It's a record
about emotion,” Yanya explains. “I think it's more open about that in a way that ‘Miss
Universe’ wasn't because there's so many cloaks and sleeves with the concept I built
around it.” Summing up the ethos of the new album, she adds, “I’m not as scared to
admit my feelings.”
 Should stock of ATO0594BI1 sell out, a different standard vinyl format will be made
available (ATO0594LP).
 “A distinctive new voice in indie rock, a deeply expressive singer and sharply
inventive guitarist” - Uncut
 “On a musical and human level, then, the world needs more people like Nilüfer
Yanya” - MOJO
 “A true original” - The Guardian

Wednesday 24th November - Kojey Radical, one of the UK's most influential musical voices, today announces details of his highly-anticipated debut album. Titled Reason To Smile, the 15 track album will be released on 4th March 2021 via Asylum / Atlantic Records. It features guest appearances from Tiana Major9, Masego, Shaé Universe, Cash, Kelis, Lex Amor, Knucks, Shakka, Wretch 32, Ego Ella May and Rex Life Raj and his own mother (whose voice weaves throughout the record) alongside a who's-who of global production talent including KZ, Swindle, Jay Prince, iO, The FaNaTiX, Cadenza, 169, Venna, Ric & Thadeus, Blue Lab Beats, Emil Larbi, Mr Cutts and Ed Thomas.

Having already made such an indelible mark on British music it's hard to believe that Kojey Radical has never released an album. Over four previous EPs, Kojey Radical has given people greatness but on Reason To Smile he's striving for perfection. Defined by a sound he describes as "space and bass" and featuring the singles "War Outside (ft Lex Amor)" and "Gangsta", Reason To Smile is without doubt Kojey Radical's most ambitious and complete work to date and an emphatic statement of the levels at which he operates.

Kojey Radical today also announces details of his “From Me To You” tour. Commencing on 4th March (album release day), the tour will see Kojey partner with record stores across the UK for a run of in-store and out-store shows and signings throughout album release week. These intimate shows will be a rare opportunity to see Kojey Radical so up close and personal and are sure to sell out quickly

Kris Barras Band return armed with towering anthems on the heaviest
album to date; 'Death Valley Paradise', available on CD, transparent red
vinyl and digitally
Produced by Dan Weller (Enter Shikari, Bury Tomorrow, SiKth) and recorded at
VADA Studios in Alcester, they return heavier, darker, more introspective but
enormous at the same time. Barras decided to remove all shackles and began
collaborating with songwriters, such as the heavyweights; Jonny Andrews (Three
Days Grace, Fozzy), Bob Marlette (Alice Cooper, Airbourne, Rob Zombie), Blair
Daly (Halestorm, Black Stone Cherry) and Zac Maloy (Shinedown, Tyler Bryant).
Death Valley Paradise started life as a song before it was dissected and spread
across the album. Death Valley is a place of extremes, where living things are
said to not be able to survive.
For 18 months the world stood still and the realisation set in that there was no
control of ourselves anymore. For the ex-MMA/cage fighter, there was only one
way out, to re-focus, and started with no preconceived plan for the album.
But now, Death Valley Paradise is ready to be unleashed upon the masses, who
are yearning to rock out, fist pumping in the air.

It’s been a decade since SLASH featuring Myles Kennedy and the Conspirators released their debut album together, and since then have been on one of the more impressive and unrelenting tears in rock ‘n’ roll, issuing two more hard-hitting, highly-acclaimed records, and rocking stages all over the world. Since their debut, SLASH has amassed album sales of over 100M copies, garnered a Grammy Award and 7 Grammy nominations, and was inducted into the Rock & Roll Hall of Fame.

Enter 4, the Dave Cobb-produced highly anticipated studio effort from SMKC. True to the band’s expanding legacy, it’s everything you’ve come to expect from SLASH, Myles Kennedy, Todd Kerns (bass), Brent Fitz (drums) and Frank Sidoris (rhythm guitar)... but also unlike anything you’ve heard from them yet. This time out, SLASH says, they captured a certain “magic” – the sound of five musicians and band mates listening to and playing off one another in the spirit of live, in-the-moment collaboration. “It has a very spontaneous, fun kind of thing to it, and I love that,” SLASH says of 4. “It’s the sound of the five of us just jamming together in one room.”

This is the first album to come from the newly formed relationship with Gibson Records and BMG

It’s been a decade since SLASH featuring Myles Kennedy and the Conspirators released their debut album together, and since then have been on one of the more impressive and unrelenting tears in rock ‘n’ roll, issuing two more hard-hitting, highly-acclaimed records, and rocking stages all over the world. Since their debut, SLASH has amassed album sales of over 100M copies, garnered a Grammy Award and 7 Grammy nominations, and was inducted into the Rock & Roll Hall of Fame.

Enter 4, the Dave Cobb-produced highly anticipated studio effort from SMKC. True to the band’s expanding legacy, it’s everything you’ve come to expect from SLASH, Myles Kennedy, Todd Kerns (bass), Brent Fitz (drums) and Frank Sidoris (rhythm guitar)... but also unlike anything you’ve heard from them yet. This time out, SLASH says, they captured a certain “magic” – the sound of five musicians and band mates listening to and playing off one another in the spirit of live, in-the-moment collaboration. “It has a very spontaneous, fun kind of thing to it, and I love that,” SLASH says of 4. “It’s the sound of the five of us just jamming together in one room.”

This is the first album to come from the newly formed relationship with Gibson Records and BMG