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The anniversary edition comes in a gatefold-sleeve on clear / golden marbled vinyl with an exclusive poster. It all started in Gothenburg, Sweden back in 2003. After various incarnations the band we've now come to know as EF hit their stride by opening up their heavy distorted guitar palet to a much richer, textural approach with haunting melodies and harmonies. The band started touring and built up a dedicated fanbase throughout the years. The experience and confidence gained from these 22 odd tours have taken them all over Europe and Asia. It has shaped them to become the explosive, energetic and cathartic live band they are now today. As it goes with age and experience also comes growth. Although the sound of the band has evolved away from the hardcore infused post-rock of their early days, EF have always kept their hardcore d.i.y. ethics alive. By running their own record label, And the Sound Records, and setting up their own worldwide distribution they sold thousands of records along the way. In 2010 EF started to collaborate with German label Kapitän Platte by releasing the third album "Mourning golden morning" on vinyl. Now 15 years later, especially as the record is long time out of print, it's time to celebrate this anniversary with a new edition of this album that reached in the meantime the status of a post-rock masterpiece, to name in a row with bands like Caspian, Mogwai or Explosions in the sky.

“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on “Short But Funky,” he also reminds listeners of an important fact: “There’s a serious side to everything I say.” Short Dog’s In The House, was $hort’s sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, 70s drenched beats made for cars on the boulevard, and no nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.” The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn’t going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on “Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on “Ain’t Nothin’ But A Word To Me,” featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on Blue and Ruby Color-In-Color vinyl

Originally released in the summer of 1994 at the height of interest in the US underground rock scene, ‘Without A Sound’ was Dinosaur Jr’s sixth album, and their third major label offering. Recorded by the then two-piece band (Mike Johnson on bass and vocals, J Mascis performing everything else himself, including drums), the album saw Dinosaur Jr continue to deliver on their distinct formula, J’s soul-searching songs being performed with his trademark effortlessly cool heavy style. Including classics such as ‘Feel The Pain’ and ‘Grab It’, the album remains a firm fan favourite. Released on highly collectable splatter green vinyl to commemorate the band’s flurry of ‘Without A Sound’ themed live shows in May 2025, this is a chance for the uninitiated and younger fans to discover a classic, and for familiar fans to revisit an album which sounds as vibrant and essential today as it did thirty years ago.

In celebration of their 35th anniversary, Leftover Salmon, the legendary
bluegrass-rooted jam band, will be releasing their new studio album, Let's
Party About It
Let's Party About It reaffirms their status as pioneers of blended bluegrass and
showcases their unmatched musical chemistry. For the first time ever, the band wrote
the album together in a single session as a group. Longtime friend of the band and
storied songwriter Aaron Raitiere (Lady Gaga, Lukas Nelson, Ella Langley, Lainey
Wilson, Anderson East, The Lone Bellow, Trace Adkins, and more) also joined the band
for the writing session. The resulting album captures the energy and camaraderie that
have defined Leftover Salmon's three-and-a-half-decade-long career.
The album was recorded at Compass Sound Studio (formerly Glaser Sound Studio,
aka "Hillbilly Central"), the iconic birthplace of Outlaw Country, with the band joined by
special guests such as Del McCoury (vocals), Sam Bush (fiddle, mandolin), Jason
Carter (fiddle), Jeff Coffin (saxophone), and more.

Outtakes is a retrospective album featuring nine previously unreleased tracks
from Micke Bjorklof & Blue Strip - This unique collection contains songs,
recorded over the years but for various reasons, were left off past albums,
capture the band's evolving sound and dedication to blues-rock excellence
We usually had a few extra songs when we went into the studio to record the album in
case some of the songs didn't "take off" as expected. Sometimes the direction of
production can also change as the process progresses, which affects the album as a
whole. However, a lot of effort has been put into these songs and they have been
carefully prepared for the album and produced to completion. It is at least justified to
give them another chance to reach listeners, and we felt they deserved a platform of
their own. Although the songs are from different eras, I think they formed a very good
and balanced whole" says Micke Bjorklof.
Spanning from the early 2000s to the present, Outtakes showcases the shifting styles
and influences of one of Finland's most celebrated blues-rock bands. Outtakes is not
only a collection of rare tracks but also a kind of time travel through the arc of the
band's musical and sonic evolution from the early 2000s to the present day. Each
song reflects the shifting moods, styles, and influences the band has embraced over
the years, capturing the essence of one of Finland's most celebrated blues-rock bands
over 30-year journey in the blues-rock scene.

The 11th release on Random Vinyl finds Pax Romax featuring Brian Ice paying to respect to an original masterpiece while also serving it up for a new generation of ears. First up is the extended remix of 'Fade To Grey' which is a deep and cosmic disco workout with libidinous vocals. '2067' is a second production by Pax Romax that layers up jittery arps and twirling pads with a low-slung disco groove. The "Steve's Strange mix" is a codeine paced retro-future disco trip with standout synths and the Master Mix is more airy with lush pads up top was made by the late great Marc Hartman who passed away in August 2024 at only 58 years of age and serves as "Marc's epic swan song as we say, in Dutch," explains his label partner.

Elipsis is the convergence of three musical personalities deeply rooted with one foot in the tradition and one foot in the future. Pedrito Martínez (Eric Clapton, Paul Simon, Sting, Wynton Marsalis), master percussionist, Yoruba priest, and one of the iconic voices of Cuba, seamlessly weaves Afro-Cuban tradition with an innovative approach to every project he touches. Mexico City-bred Antonio Sánchez is equally admired for his work as a solo artist (with guest appearances by people like Thom Yorke, Trent Reznor, and Dave Matthews), sideman (Michael Brecker, Chris Potter, Avishai Cohen), drummer for the Pat Metheny Group for almost two decades, and Oscar-nominated film scorer (Birdman). Michael League is best known as the founder of the 5-time Grammy-winning, Texas-born instrumental music ensemble Snarky Puppy, but has spent the majority of his career producing records by artists like David Crosby, Youssou N’Dour, Susana Baca, Silvana Estrada, and Los Muñequitos de Matanzas. The result of these three musicians is future folklore- a delicate balance of each member’s roots and the insatiable desire to push the tradition into places one can only imagine.

Ein Album zum Schlafen und Wachen, zum Gehen und Fahren, zum Jagen und Fischen, zum Herumlungern vor einer Raststätte in der verwunschenen Tundra. In Fahrstühlen okay, zum Abendessen nicht so toll. Auf Caveman Wakes Up, dem neuen Album von Friendship und ihrem zweiten für Merge Records, wird die historisch weit gefasste Definition von Country-Musik noch weiter gefasst. Shambolische Gitarren werden durch Flötenpads ausgeglichen, trübe Poesie trifft auf eine Motown-Rhythmusgruppe, ein Song über Jerry Garcia und die First Lady Betty Ford wird mit einem Schlagzeugsolo ausgeblendet, als käme Talk Talk aus einem schmuddeligen Keller in Philadelphia und würde von James Tate gespielt. Der zerklüftete Bariton des Songwriters Dan Wriggins schneidet durch elf düstere, wirbelnde Country-Rock-Songs mit tiefgründiger lyrischer Substanz und Aufrichtigkeit. Wie ein Wecker, der am Rande eines Traums eingebaut ist, gehört "Caveman Wakes Up" gleichermaßen zum bewussten und zum unterbewussten Verstand, voller Hintergründe, durchdrungen von Referenzen und Experimenten, beiläufig und als düstere Warnung vorgetragen und vor allem der kreativen Seele der Musik gewidmet. Im Laufe der Jahre hat sich diese Hingabe ausgezahlt. Friendship ist zu einer Art umgekehrter Supergroup geworden, in der die Band selbst und jedes einzelne Mitglied im Zentrum einer zunehmend prominenten Szene junger Folk- und Country-Musiker und Songwriter steht. Der Schlagzeuger Michael Cormier O'Leary leitet das Instrumentalkollektiv Hour und betreibt zusammen mit dem Bassisten Jon Samuels das Label Dear Life Records, das Freunde und Kollegen beherbergt, die Friendship zu einem wichtigen Einfluss zählen, darunter MJ Lenderman, Florry, und Fust. (Samuels spielt auch die Leadgitarre bei MJ Lenderman and the Wind). Die Band 2nd Grade des Gitarristen Peter Gill ist ebenfalls aktiv und macht zahlreiche Aufnahmen. Wriggins begann mit dem Schreiben der Songs von "Caveman Wakes Up" auf einer verstimmten klassischen Gitarre von Lenderman und beendete es auf einem kaum gestimmten Klavier in einer Wohnung, die er mit G DeGroot von Sadurn teilte. Im Sommer 2023 hatte Wriggins gerade den Iowa Writers' Workshop verlassen, wo seine Liebe zur Poesie und sein Misstrauen gegenüber der akademischen Poesiewelt gleichzeitig wuchsen. Eine Beziehung ging in die Brüche, und Wriggins übernachtete mehrere Wochen in North Carolina im Haus von Lenderman und Karly Hartzman (von Wednesday ), wo er die ersten Demos von "Resident Evil", "All Over the World" und "Love Vape" aufnahm. Wriggins kehrte nach Philadelphia zurück, und die Band machte sich an die Arbeit, um neue Ideen zu entwickeln. Schließlich nahmen sie das Album in fünf Tagen mit Tontechniker Jeff Ziegler (Mary Lattimore, War On Drugs) auf, den Gesang mit Bradford Kreiger, dem Techniker von Love the Stranger. Orgel, Geige (Jason Calhoun) und Flöte (Adelyn Strei) wurden von Lucas Knapp in einer Kirche in West Philadelphia aufgenommen. Textlich bewegt sich "Caveman Wakes Up" auf vertrautem Friendship Terrain - das Heilige wird profaniert und das Profane geheiligt. "Caveman Wakes Up" zeigt Friendships besonderes Genie für visionäre Arrangements, die über Generationen hinweg dem Folk-Rock-Kanon von Neil Young, Joni Mitchell und Emmylou Harris ebenso verpflichtet sind wie Indie-Größen wie Yo La Tengo und den Merge-Labelkollegen Lambchop oder Zeitgenossen wie Lomelda und ML Buch. Mehrere der Songs verwenden Fade-Outs, die im Text von "Love Vape" scherzhaft erwähnt werden, und es gibt andere Elemente, die von Motown und 70er-Jahre-Balladen übernommen wurden: festgefahrene Schlagzeugmuster, Bassintervalle, gefühlvolle Streicherarrangements. Jede Referenz wird über das Genre hinausgeschoben, verwirbelt und wiederholt, zu etwas Neuem, das eindeutig zum Friendship-Sound gehört. Bei "Free Association", "Artex" und "Wildwood in January" ist der Groove so festgelegt, dass andere Klänge nahtlos kommen und gehen können: Mellotron-Flächen, Klavierwirbel und -stiche und klare Gitarrenmelodien, wimmelnde Texturen, die sich als Einheit tarnen. "Caveman Wakes Up" das bisher am weitesten fortgeschrittene Werk von Friendship, ein weiterer Beweis für die Hingabe und Sorgfalt der Band.

LINKIN PARK—Mike Shinoda, Brad Delson, Phoenix, Joe Hahn, alongside new members Emily Armstrong of critically acclaimed band Dead Sara as co-vocalist and Colin Brittain songwriter/producer for G Flip, Illenium, One OK Rock as drummer—share their first brand new music in seven years.

The iconic band shared a new single “The Emptiness Machine,” which is also the herald for the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.

About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”

Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.

Ultimately, with FROM ZERO, the band is looking to harness the purest energy of their past, present, and future. The new era has officially begun.

A full LP of never before released Hurley recordings from 1972-73! Great early versions of classic Hurley songs such as Automatic Slim & The Fatboys, Drivin' Wheel, Ghost Woman Blues, Watchin' The Show and The Portland Water that come off for the most part better than later releases of these songs.Hurley is backed up by ''The Fatboys'' - not the rotund hip hop crew from the film ''Disorderlies'' but rather a bunch of not so fat nice guys in Vermont who played mostly for the local dairy farmers (Later they were known as ''Sheriff Mocus & the Deranged Cowboys'').A laid back countryish album sure to please the hard core Hurley fan & casual listener too. Deep & breezy. Cover painting by Michael. A co-release with our friends label in San Francisco - Secret Seven.

Sometimes records reflect life with an unsettling precision, your own breath sticking to a mirror, confounding or transforming reality. J.H. Guraj, real name Dominique Vaccaro, is back with ‘The Flip Side’, an accomplished work of grace and sprawling elegance documenting struggle and a near-death experience that summons ghosts of Western primitive masters, rollicking free folk, minimalist orchestrations, weeping guitars and smooth psychedelics.

Time stopped for J.H. Guraj in 2021 following a brush with mortality, extensive forced recovery and subsequent hints of depression after an almost fatal bike crash, leaving our wandering soul, once again, at the edges. While his previous record ‘Introspection / Migration’ hinted at Middle-Eastern influences and merged the artists’ Arbëreshë upbringing with stoic ecstasis, free-form structures and guitar wizardry under sepia tone curtains, ‘The Flip Side’ twists, turns, falls down and rises to new heights, the widescreen breadth of Dominique Vaccaro’s cinematic vision projects new colours, a stark contrast of pastoral emerald green and pitch black asphalt, urban decay and mercurial mystery.

Like passages from some archaic songbook what astonishes is how detailed the new compositions are, a warm embrace like ‘Way To Long Goodbye’, counterpoint pianos leading the way down a Gershwin avenue; ‘You Got It All Wrong So Did I’ with its Van Dyke Parks arrangement; the 9 minute epic ‘Us As Ghosts’ a haunting ballad that resolves into kosmische landscapes; the muted symphony of ‘Fake Af’ and the spectral disorientation of ‘Nothing I Can Do But Flow’. Gentle drumming from collaborator Gianluca Panici augment the eeriness of ‘The Flip Side’, motions that create a sense of suspension and yearning.

"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd

'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.

Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.

The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.

Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.

With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'

Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.

Notoriously spirited, hard parrtyin’ West Coast rap trio Tha Alkaholiks have returned with their first new studio album in over 10 years!

Combining fresh takes on some of the band’s best known singles including “Daaam!” and “Make Room” PLUS several new songs, this album hits that ‘90s rap nostalgia spot! Features special guests Planet Asia and spookybands!

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

Inspired by the Zamrock movement of the 1970s, Immy Owusu & Sensible J’s swirling psych/afro/funk EP ‘Spiritual War’ is a rowdy, boisterous selection of songs about injustice, insanity, and the inanity of modern life in the burning house that is late capitalism. Owusu, a Ghanaian Australian singer and multi-instrumentalist, bonded with South African Australian drummer, beatmaker, and producer Sensible J (Sampa The Great, Cool Out Sun, Remi) over a shared love of the raw sounds of 70s African music, in particular Zamrock artists like Witch and Amanaz, and cooked up the EP in J’s iconic House Of Beige studio. Immy played guitar, percussion, and miscellaneous instruments, including the recorder, as well as vocals, while J provided drums, bass, and keys, and a roster of guests added vocals.

"Music collectors have the chance to rediscover a lost gem from the golden age of psychedelic rock. This Half-Speed Mastered Edition offers the ultimate listening experience of the Texan band"s legendary 1967 debut-and only-album. Originally pressed by the International Artists label, Power Plant has gained mythic status among fans of the genre, often fetching up to $2,000 for an original pressing. But this exclusive reissue surpasses even the most sought-after versions, delivering a superlative experience that uncovers astonishing stereo details never before heard. Recorded at the height of the Texas psych-rock explosion, Power Plant stands as the only album on the International Artists label to rival the cult-like fascination surrounding the 13th Floor Elevators. Fronted by George Kinney, The Golden Dawn crafted a sound both haunting and transcendental, blending poetic lyrics, distorted guitars, and dreamlike vocals. Fans old and new will be transported back to the heart of the 1967 psych revolution, reliving this masterpiece as it was meant to be heard.

'Test Driving The New Prius' is a 35 minute radio play (with sound effects) written and performed by Jim Fry (Earl Brutus, Pre New) and Luke Haines. (The Auteurs, Baader Meinhof a.o.). Just as that other modernist masterpiece Ulysses depicted a day in the life of Leopold Bloom, Test Driving The New Prius follows the life in a daze of Endgame Man. In this tale of derring-do our hero acts out a perilous adventure in the 400 yards between his home, his local pub and the off-licence. With nervous system reduced to a series of involuntary twitches and reality reduced to a background hum of decades of half absorbed mindless daytime TV wittering. Can Endgame Man get home and make it through to Wednesday with only his spirit familiars - an endless trail of 75cl bottles of Glen's vodka to guide him? With cameos from Jayne MacDonald, Brian Eno, Martin Degville /sigue Sigue Sputnik) and the cast of Blankety Blank (1980). Written and executed by Jim Fry and Luke Haines Originally Broadcast as a Radio Play in 2022, now a limited-edition 12-inch vinyl LP on berry red vinyl,exclusively released for RSD 2025

OVERVIEW We're delighted to announce the release of all Orange Goblin's Rise Above Records releases on vinyl, most of which will be for the first time. First is their landmark 1997 debut album, Frequencies From Planet Ten. Goblin singer Ben Ward recalls the album. "Frequencies from Planet Ten is the sound of Orange Goblin trying to establish ourselves and experimenting with an array of different influences. It was an exciting time for us as we were just finding our feet as a band. We were young and the UK stoner /doom scene was just coming to fruition so it was great to be a part of that. I think the songs still sound strong and relevant, which is why we still include a lot of this material in our live set to this day and a lot of the newer OG fans can discover where it all started. Its great that the album is finally getting a release on vinyl. Deluxe vinyl edition of ORANGE GOBLIN's debut album released for the very first time on vinyl from the original masters. British Doom/Stoner Metal legends. Features never before seen pictures & exclusive liner notes from singer BEN WARD. Hi quality 180gm vinyl. Gatefold sleeve with full colour insert. Includes bonus 7 single in picture sleeve. Tracklist: A. Aquatic Fanatic (originally released on a split 7" with Electric Wizard) / B. Sarumans Wish (Demo version)

Deranged Records and Forward! Records will release Wildhoney's first LP, Sleep Through It. The group formed in late 2011, aiming to write pop songs with the energy and malcontent of hardcore punk, but without its entrenched masculinity. The five-piece has since become one of the loudest—and sweetest—bands in its hometown of Baltimore. Sleep Through It expands on two excellent 7-inches and one cassette EP, drawing influences from '60s girl groups, '80s post punk, indie pop, and shoegaze. New songs like first single "Fall In" showcase just how well Wildhoney combines wall-of-sound power with delicate passages and gorgeous vocal melodies. Older songs such as "Super Stupid" and "Seventeen" return on the LP, newly realized and sounding better than ever. Throughout the album, the group's blasts of distortion and use of dense textures are balanced with beautiful pop tunes and chiming guitar work. The swirl of noise surrounding singer Lauren Shusterich's voice is not unlike the best of the Cocteau Twins, or even Deerhunter, especially on the soaring title track. Sleep Through It was recorded at Beat Babies Studio in Woodstock, Md., with Chris Freeland (Lower Dens, Wye Oak). The album is Wildhoney's first with synthesizers and features liberal amp and pedal experimentation. The recording process was intense and fast, cramming lots of work into a small amount of time. That hectic schedule is impossible to hear on the LP, which unravels at its own dreamy pace.