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Katagory V sind eine Progressive-Power-Metal-Band aus Salt Lake City in Utah. Anfang 1999 gegründet, sind bis dato fünf Studioalben erschienen: Auf "Present Day"(2001) folgten "A New Breed Of Rebellion" (2004), "The Rising Anger" (2006), "Hymns Of Dissension" (2007) und schließlich "Resurrect The Insurgence" (2015). Nun hat die Gruppe einen Vertrag mit High Roller Records unterschrieben, dessen erstes Resultat das brandneue Werk "Awaken A New Age Of Chaos" ist. Die Platte wurde von Dustin Mitchell (Bass), Curtis Morrell (Gitarre) und Matt Suiter (Schlagzeug) eingespielt, allesamt Teil der Originalbesetzung, plus Sänger Albert Rybka sowie Neuzugang Dan Coxey an der zweiten Gitarre. Das Album ist im Streamline Studio in Salt Lake City aufgenommen und von der Band selbst produziert worden. Für das Mastering zeichnete Alan Douches (Fates Warning, Cannibal Corpse) verantwortlich. Mit Riffmonstern wie "Empire Of Ignorance" und "Blood Siphon" oder melodischen Stücken wie "Absolute Divide" oder "Through Fate's Eyes" entpuppt sich "Awaken A New Age Of Chaos" als Meisterwerk des modernen Progressive Power Metal. In der Vergangenheit wurden Katagory V gerne mit Fates Warning, Queensryche, Hades, Sanctuary und Lethal verglichen. Laut Bassist und Gründungsmitglied Dustin Mitchell durchaus zutreffend: "Die genannten Bands haben uns ganz ohne Zweifel beeinflusst. Aber auch eine Menge Speed-, Thrash- und Doom-Bands der späten Achtziger und frühen Neunziger. Dazu Thrash-Metal-Gruppen der alten Schule - Realm, Death Angel, Helstar, Flotsam & Jetsam sowie Atrophy - und ferner auch härtere Melodic-Hardrock-Formationen, speziell aus Deutschland, da denke ich an Bonfire oder Jaded Heart." Das sollte all denjenigen, die mit Katagory V noch nicht vertraut sind, einen guten Eindruck davon geben, wie die Band klingt. Alles in allem ist das neue Werk "Awaken A New Age Of Chaos" von einer überraschend dunklen Grundstimmung geprägt: "Oh ja, dem stimme ich ausdrücklich zu", bestätigt Dustin Mitchell. "Diese Platte ist viel düsterer und auch zorniger als alles, was wir in der Vergangenheit gemacht haben, vielleicht mit Ausnahme unseres zweiten Albums. Im Verlauf unserer Karriere haben wir einige Tiefschläge einstecken müssen, weswegen die Band die letzten zehn Jahre auf Eis gelegen hat. Es ist also nur natürlich, dass sich die Wut darüber auch in unser neuen Musik Ausdruck verschafft hat."

"The recordings Contained herein are contained here after many years on the shelf..." So begin Michael Hurley's notes to these unbelievably great recordings from 1964...never before heard. Recorded by Fred Ramsey as part of the same sessions that resulted in Michael's First Songs LP on Folkways. Side A starts with What'llya Do, What'llya Say?, a pretty psychedelic classic that can very well put you into some kinda trance. After that we hear The Blues Had Gone Away - a sad drifty little tune, then Pretty Girl On Rollerskates, with a rare Hurley harmonica solo & hallucinatory lyrics worthy of some examination, and then a beautiful alternate take on one of Michael's all time greats - The Tea Song. Side B starts up with yet more alternate takes of songs from the Folkways LP - this time of Intersoular Blues & I Like My Wine. After that we get to hear two great compositions for the first time, & man oh man are they pretty - Hey Hey Hey Hey & I Love You Babe. Real great stuff all around that we recommend for deep into it Hurley fans & newcomers to his art alike. Michael Hurley is a great American song writer with his own unique way of seeing the world & this LP is a great testament to his vision. Co-release with our friends Nero's Neptune.

"Music was his passion. His life, his love_ his all." Book-ended by the two parts that make up the album's centrepiece, "Opus Imperfectus", Maestro is Magic Pie's long-awaited 6th studio album, years in the making... "Maestro! Where did you go? People ask and I need to know." Does life imitate art, or is it the other way around? Magic Pie is a Norwegian progressive rock band formed in 2001, known for their intricate compositions, symphonic arrangements, and blend of vintage and modern influences. Highly regarded in the international prog community, Magic Pie's music explores themes of introspection, existentialism, and human emotion. Drawing inspiration from bands like Dream Theater, Genesis, Pink Floyd, Kansas, Deep Purple, Yes and many more - their music incorporates complex time signatures, lush keyboards, and dynamic guitar work, mixing elements of symphonic rock, jazz, and even folk. Fronted by the charismatic Icelandic singer and lyricist Eirikur Hauksson and "maestro-mind" & composer Kim Stenberg, Magic Pie continues to strive for higher & bigger musical conquests. "Follow your vision, fulfill your dream".

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.

On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Marbled vinyl, limited to 600 copies. On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Who better than American producer Bosq to put his spin on Konkolo Orchestra's hit track 'Le Secret' from their debut album? Now based in Colombia, Bosq infuses the Afrobeat anthem with a fresh, club-ready energy, blending infectious Afro rhythms with pulsating dance beats. On the B-side, listeners will find the instrumental mix, which emphasizes the track's intricate percussion and irresistible grooves, perfect for DJs and vinyl enthusiasts. This release puts a contemporary spin on Afrobeat and is sure to set any dancefloor ablaze.

Dynamic, multi-limbed house outfit Girls of the Internet have collaborated with Athens of the North for a special, limited edition two track tour 12", with the remaining few copies now available. Sampling a mystery gem from the AOTN catalog, Girls of the Internet create a proper party record with A side 'Somewhere Someone'. Smiles on faces all round this summer. On the B, James Alexander Bright's 'Your Love' (from '24's amazing LP 'Cool Cool' Dynamic, multi-limbed house outfit Girls of the Internet have collaborated with Athens of the North for a special, limited edition two track tour 12", with the remaining few copies now available. Sampling a mystery gem from the AOTN catalog, Girls of the Internet create a proper party record with A side 'Somewhere Someone'. Smiles on faces all round this summer. On the B, James Alexander Bright's 'Your Love' (from '24's amazing 'Cool Cool' album) gets flipped into Gospel-tinged house track 'Where Is Your Love', a song that's been going down a storm on ts 'Your Love' (from '24's amazing 'Cool Cool' albumheir recent tour together.

info: Inspired by a trip to Brazil and having collected a fair amount of samples while digging around Rio, Scream & P. Rock have been locked down in the studio creating their third collaborative album - Fresh Press III. Synthesis of Brazilian groove, bass synths, live percussion and funky drums, guitar solos and funk riffs, live bass guitar, vintage breaks and raw experiments. Here is a special approach to sampling and creating cinematic arrangements.

The signature sound of a well-coordinated tandem of a break DJ and music producer is familiar to the audience from the first two «Fresh Press» albums. The third release, which was worked on for over a year, takes a special place and is presented on 12” wax in a limited edition of 300 copies

Anfang der 1960er Jahre hatte der Tenorsaxofonist Hank Mobley, der sonst oft im Schatten von John Coltrane und Sonny Rollins stand, einen wahren Höhenflug. Scheinbar mühelos schüttelte er ein HardBop-Meisterwerk nach dem anderen aus dem Ärmel. Eines dieser Alben war “Roll Call”, auf dem er seinen Erfindungsreichtum, seinen Spielwitz und seine einzigartige rhythmische Fingerfertigkeit vollendet zur Geltung brachte.

Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

"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.

Contains early rough and alternative mixes of the 10 tracks that appear on the "I Robot" album. Previously unreleased and are therefore making their first appearance on vinyl. 180g heavyweight Blue Vinyl LP.

Corsican artist Barbara Carlotti does wonderful, slightly melancholic chansons. Her noble timbre was an almost perfect match for the subtly arranged tones of her debut album "Les Lys Brises". With the follow-up work "L'Idéal", Carlotti has gained even more class. Both albums have been released on the English 4AD label, which proves that pop need not fear any language barriers. And a great singer like Barbara Carlotti certainly doesn't. Further albums on e.g. Atmospheriques, Elektra France and Les Maison Des Reves did follow, in 2025 Carlotti returns with new French Pop chansons now. This limited two track 12" showcases two titles from her current March 2025 album and is exclusive to RSD 2025

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Mr Reggae Roast Adam Prescott returns to Lion Charge for the 7" vinyl series with 'Time & Space' b/w 'Time Longer Than Rope'

Available on hand stamped 7" vinyl with brown sleeve.

15th Anniversary Edition. Lime Green Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

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.

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

SLEEP THEORY"S meteoric rise since bursting onto the scene in 2023 has been nothing short of extraordinary. Their breakout single "Numb" smashed into the Top 10 on Active Rock Radio, introducing a sound that feels as polished as it is powerful-something most bands take years to master. Following that initial strike, tracks like "Fallout" and "Stuck in My Head" cemented their place as chart-topping heavyweights. But SLEEP THEORY isn"t just a studio phenomenon-they"ve cut their teeth on the road, delivering blistering performances alongside heavy hitters like Beartooth, Daughtry, and Falling in Reverse. From dominating festival stages at Welcome to Rockville and Sonic Temple to the electrifying chaos of Louder Than Life, their relentless touring schedule has forged a reputation for anthemic live shows that demand your attention. Now, 2025 is shaping up to be SLEEP THEORY"S defining year. Their highly anticipated debut album, Afterglow, drops May 16th, and it promises to be a revelation. Packed with razor-sharp songwriting, impeccable musicianship, and vocals that will leave you breathless, this is the record fans have been waiting for. With over 230 million streams and listeners devouring their music at a staggering 5 million streams weekly, Sleep Theory is on the verge of transcending rock"s boundaries to become one of the genre"s defining voices. Brace yourselves: Afterglow is more than just an album-it"s a statement of intent from a band destined to shake the foundations of modern rock.

Limited edition test pressing, featuring Reggae legends...

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' exit in 2022, this reunified version of Pelican allowed the band to tap back into those influences and build something distinctly new with Flickering Resonance. While longtime Pelican fans will find an updated version of the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, I'm willing to acknowledge all the suits we're wearing." On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.

Rico Nasty returns with a new studio album, LETHAL due out May 16th on Fueled by Ramen (Atlantic Music Group).

Rico Nasty is known for her own particular brand of rage-rap and for her outrageous on-stage, online, volume-up persona. But as she grew up, she started to feel trapped by the character she created. LETHAL is a reckoning of who Rico is at 27 with the trap-pop teen persona she created more than a decade ago. Executive produced by GRAMMY nominated producer Imad Royal, the album still features all the hallmarks of a Rico Nasty record - female rage, heavy guitars, humor - but there are also notes of femininity,

introspection and a more complex framing of all the angles of Rico - the performer, the mother, the adult.

LETHAL is Rico Nasty’s third studio album following her debut album, Nightmare Vacation and her 2022 follow-up to Las Ruinas.

Silver Vinyl. Metalhorse is Billy Nomates' third studio release, following 2023's critically acclaimed, CACTI, and her self-titled 2020 debut. A concept album revolving around the image of a dilapidated funfair, representing the tumultuousness of life - risk and pleasure, danger and exhilaration. The 11 new songs here explore blues, folk and pianodriven arrangements that take Billy Nomates' stark punk sound in a more pastoral direction. Metalhorse is the first Billy Nomates album to be made in a studio and with a full band, the line-up inc. bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits) plus a special feature from The Stranglers frontman Hugh Cornwell on "Dark Horse Friend". Metalhorse is a balancing of extremes. Reckoning with loss, material insecurity, and trying to stay true to yourself against an increasingly unpredictable backdrop of global chaos, the scales could easily have tipped towards darkness, but the more Maries has had to weather, the more precious those smaller moments of happiness have become. Metalhorse begs the listener to find their own funfair; there will always be things that feel perilous. At the same time, you have to marvel at the lights while they're still on. Dancing with those feelings of uncertainty and joy, Metalhorse is awash with both pain and perseverance.

Mit ihrem siebten Studioalbum katapultiert die Berliner Band Kadavar ihren Sound in neue Dimensionen. Inspiriert von einem Zitat ihres Bassisten Simon 'Dragon' Bouteloup, „Ich will einfach nur ein Sound sein“, schaffen sie ein Manifest für Freiheit, Transformation und radikale Präsenz. Keine Konzepte, keine Grenzen: Das Album ist ein musikalisches Ritual des Übergangs, das sich nahtlos zwischen Rockhymnen, Balladen und epischen Momenten bewegt - immer voller Schwung und Veränderung.

Unterstützt von Produzent Max Rieger und begleitet von Gitarrist Jascha Kreft zelebrieren Kadavar die ewige Verwandlung des „Ewigen Jetzt“. Ein Soundtrack für die Widersprüche der Zeit, der alles hinter sich lässt, was nicht Musik ist - kraftvoll, verletzlich und immer bereit für einen Neuanfang. Es ist ein Liebesbrief an den Moment, an Berlin und an das Leben selbst - voller Liebe, Verlust, Narben und dem bittersüßen Gefühl der Vergänglichkeit. Kadavar laden uns ein, loszulassen und eins zu werden: mit der Musik, mit dem Jetzt, mit dem Klang.

Silver Vinyl. Metalhorse is Billy Nomates' third studio release, following 2023's critically acclaimed, CACTI, and her self-titled 2020 debut. A concept album revolving around the image of a dilapidated funfair, representing the tumultuousness of life - risk and pleasure, danger and exhilaration. The 11 new songs here explore blues, folk and pianodriven arrangements that take Billy Nomates' stark punk sound in a more pastoral direction. Metalhorse is the first Billy Nomates album to be made in a studio and with a full band, the line-up inc. bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits) plus a special feature from The Stranglers frontman Hugh Cornwell on "Dark Horse Friend". Metalhorse is a balancing of extremes. Reckoning with loss, material insecurity, and trying to stay true to yourself against an increasingly unpredictable backdrop of global chaos, the scales could easily have tipped towards darkness, but the more Maries has had to weather, the more precious those smaller moments of happiness have become. Metalhorse begs the listener to find their own funfair; there will always be things that feel perilous. At the same time, you have to marvel at the lights while they're still on. Dancing with those feelings of uncertainty and joy, Metalhorse is awash with both pain and perseverance.

"Something Soft", das zweite Album der irischen Post-Punk-Brandstifter M(h)aol, ist alles andere als soft. Von der ersten Note des Eröffnungsstücks von "Something Soft" bis zu den verzerrten Schreien des letzten Stücks fühlt sich die Platte antagonistisch gegenüber dem Konzept der Sanftheit an, klanglich und thematisch. Es ist eine unapologetische Annäherung an intersektionellen Feminismus, Tierschutz, Konsum und den Kampf um einen Platz in einer Welt, der es an Empathie mangelt. Was M(h)aol bietet, ist Katharsis in zwei Formen: die Art, die man bekommt, wenn man anderen gegenüber offen ist, und die Art, die man bekommt, wenn man mit Recht etwas kaputt macht. Wut und Empathie effektiv zu kanalisieren ist ein Akt der Widerstandsfähigkeit, und um "Something Soft" zu machen, mussten M(h)aol besonders widerstandsfähig werden. Nach ihrem gefeierten Debüt "Attachment Styles" änderte sich das Line-up von M(h)aol und bestand nun aus dem Kerntrio Constance Keane (Schlagzeug/Gesang, sie/ihr), Jamie Hyland (Bass/Gesang, sie/ihr) und Sean Nolan (Gitarre, er/ihm). Dieser Prozess veränderte die Herangehensweise der Band an das Songwriting und die Auftritte und führte zu einem unerwarteten Durchbruch. "Something Soft" zeichnet sich durch einen dringlicheren Sound aus, der sich eng um den Rhythmus von Hyland und Keane legt. In Songs wie "Pursuit" und "Snare" verbindet sich Keanes Gesang mit dem Schlagzeug, als würden ihre Worte durch ihr Spiel zum Leben erweckt und direkt aus ihrem Körper kommen. Vor dem Hintergrund dieser ängstlichen und schwadronierenden Tracks nimmt ihre Stimme den Raum eines inneren Monologs ein, in dem sie von einem angespannten Heimweg und von der Misogynie im Green Room aus einer Position der drolligen Beobachtung heraus erzählt - eine universelle Erfahrung, die in spezifischen Details wiedergegeben wird. Wie seine Vorgänger "Attachment Styles" und die "Gender Studies" EP wurde auch "Something Soft" von Jamie Hyland aufgenommen. Es ist die technisch ausgefeilteste der bisherigen M(h)aol-Aufnahmen, denn die Band, zu der auch Sarah Deegan vom Pixie Cut Rhythm Orchestra am Bass gehört, zog in das Dubliner Ailfionn Studio, wo sie die räumlichen Gegebenheiten und das Studio-Equipment nutzten, um ihrem Sound mehr Nuancen zu verleihen. Die zusätzlichen Sessions und das Können hinter den Reglern waren ein Segen, aber für eine Band, die es gewohnt ist, unter extremem Zeitdruck zu arbeiten, war dies eine unerwartete Herausforderung: Konnten M(h)aol das Gefühl der Unmittelbarkeit beibehalten, das ihre Musik bis zu diesem Zeitpunkt geprägt hatte? Songs wie "DM:AM" zerstreuten diese Sorge schnell, indem sie innerhalb von 20 Minuten aus einem Drone entstanden, den Nolan spielte, während Hyland ihr Aufnahme-Equipment aufbaute und sich beeilte, den Song einzufangen, sobald Keane und Deegan dazukamen. Eine der geisterhaften Hymnen von "Something Soft", "1800-Call-Me-Back", begann als Scherz, dass die Band einen Fußballgesang schreiben sollte, wurde aber weitaus komplexer - die köstliche Balance aus Chaos und Klarheit, die sie gefunden haben, wäre ohne Zeit unmöglich gewesen. "I Miss My Dog" ist weniger spontan, aber seine Meditation über Trauer baut sich in einem halsbrecherischen Tempo auf, von Rückkopplungen über Keanes Schlagzeugspiel und Gesang bis hin zu einem spektakulären Schluss, der die Trauer in Bass und Gitarre erstickt, eine der größten technischen Leistungen von M(h)aol bis heute. Der Feinschliff unterstreicht den schelmischen Charme von M(h)aol und lässt das Intime hymnisch wirken, indem persönliche Erfahrungen genutzt werden, um die allgemeinen Systeme, unter denen wir leben, zu beschreiben. Für diejenigen, die sich in den Songs von M(h)aol wiedererkennen, ist das Hören von "Something Soft" wie ein Sprung in einen lang laufenden Chat-Thread, voller Wut und Humor.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

re-release Refused ist eine schwedische Hardcore-Punk-Band, die im Januar 1992 aus der Band Step Forward entstand. Sie löste sich am 6. Oktober 1998 nach einem vorerst letzten Konzert auf. 2012 gab es eine kurze Reunion. Heute gelten Refused als ein zentraler europäischer Vertreter dieses Genres, doch in den Neunzigerjahren wurde der Formation nicht die Aufmerksamkeit zuteil, die ihr gebührt hätte. Soundtechnisch orientierten sich die Schweden anfangs stark an Vorbildern wie den Gorilla Biscuits, griffen aber auch auf Elemente aus dem Metal und Rock zurück. So enthielt ihr erstes Demo zum Beispiel auch eine Coverversion des AC/DC-Klassikers "Back In Black". 1994 veröffentlichte die anfängliche Straight-Edge-Band ihr Debütalbum "This Just Might Be The Truth" beim Label Startracks, das nun auch dessen Nachpressung mit dem Original-Artwork besorgte.