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Motown Records: The Supremes, Stevie Wonder, The Miracles, Marvin Gaye, Martha Reeves and The Vandelas and, of course, The Temptations. It is antithetical to mention any of those without the others. The community of artists started as the Sound of Young America, but as history has proven, it became the sound, the look and the inspiration of so much more. And now, little nuggets of Motown's influence can be found the world over. David Ruffin, founding member of Motown superstars The Temptations, went on to become a successful solo artist even after he left the group. In 1969, Ruffin released two fantastic solo records, My Whole World Ended and Feelin' Good. Between 1970 and 1971 he recorded what was to be his third long playing solo record. However, his career was suddenly put on hold when Motown, for reasons unclear, shelved the album that had been dubbed David. The record had even been assigned a catalog number and final artwork. Ruffin returned in 1973 with a brand new LP titled David Ruffin (treated officially as his third LP) and the previously recorded album David sat on the shelves, unheard for decades. This deluxe 2xLP set features the original, rare David LP, plus an LP of bonus tracks and mono single mixes all packaged in a beautiful gatefold jacket, featuring extensive liner notes and striking color photographs of Ruffin. His red and yellow suede suit featured in the interior gatefold LP jacket is an absolute must-see! The record was cut and pressed at Third Man's Detroit HQ, just a couple miles away from the original Motown HQ. For the first time ever on vinyl, Third Man is proud to present the essential, true third LP from the Temptations' mighty David Ruffin.

Die Originalmusik von Dan Romer und Giosuè Greco und der Song "DOA" von St. Vincent, zusammen auf einer "Purple Swirl Vinyl" Schallplatte.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

The Grace EPs by legendary singer-songwriter Jeff Buckley, is a 19-track, five x EP box set, comprising the following EPs: 'Peyote Radio Theatre' July 1994, 'Last Goodbye' January 1995, 'So Real' [June 1995], 'Live From The Bataclan' [October 1995] and 'The Grace EP' [February 1996],

This unique package contains all five twelve inch vinyl records each in their own full colour jacket, a double sided full colour insert with extensive liner notes, all carefully packed in a heavyweight leather laminate textured 15mm-spined outer sleeve.

The five discs that make up the Grace EPs box-set are a collection of live performances, B-sides and studio versions from songs that originally appeared on Buckley's "Grace" album.

Peyote Radio Theatre and So Real were promotional-only releases that weren't commercially available. The others are rare imports: Live from the Bataclan came out in France, The Grace EP in Australia, and Last Goodbye in Japan,

This EP set features "Last Goodbye", "Grace", "So Real" and two amazing live versions of his classic hits "Hallelujah" & "Mojo Pin".

The Grace EPs also features a whopping 12-minute version of Van Morrison's "The Way Young Lovers Do," a medley of "Je N'En Connais Pas la Fin/Hymne A l'Amour," Hank Williams's "Lost Highway," and a 14-minute take on Alex Chilton's "Kanga-Roo."
Finally there is a bonus track added to the The Grace EP; "Tongue," a spooky ambient 11-minute studio instrumental.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

RE-PRESSED ON CLEAR VINYL!!! The long-anticipated collection of rare A-sides, B-sides, covers and unreleased outtakes from influential punk rock favorites and emo granddaddies JAWBREAKER. A twenty-track Alpha-Omega of rare and previously-impossible-to-find songs presented chronologically from their first demo in November of '88 (before they were even named Jawbreaker ) to their final studio recording, a version of "Boxcar" re-worked at the end of the DGC Dear You sessions. Beautifully packaged with inviting artwork and track-by-track commentary and lyrics (printed courtesy of AARON COMETBUS). 24-Hour Satisfaction Therapy, indeed.

The ridiculously prolific Bay Area band Thee Oh Sees are back with another full-length long-player. Warm Slime is guaranteed to please fans of their whacked-out garage / psych / punk jams. Recorded by Sacramento sultan of sound Chris Woodhouse, Warm Slime carries on in the same tradition as the group's previous In The Red release, Help, showcasing their more electrified and rocking side, in comparison to other recent home-recorded releases. The centerpiece is undoubtedly the mind-bending title track, which clocks in at nearly 14 minutes and takes up the entirety of the album's first side. It's a psychedelic epic of "Inna Gadda Da Vida" proportions! John Dwyer's guitar playing is at its quadraspazzed best here, and the vocal interplay with Brigid Dawson gives it a B-52s-at-their-least-cheesy-crossed-with-the- Troggs vibe. The results are stunning. "Thee Oh Sees incorporate the oft-referenced Nuggets stuff in a way that feels reverential. With grinding guitars and bah-bah-bah vocals, but with the punk and new-wave elements also at play, they don't feel trite or plagiarized. This is like meat and potatoes prepared by a master chef-totally familiar but utterly delicious." -Pitchfork Recorded by Chris Woodhouse (Mayyors' guitarist and producer for The A-Frames, Hospitals, Coachwhips, Erase Errata, etc.) This is one of the best sonic blasts you will trash your speakers with this year....Raw, and real! Opening track is 13 minutes long, yes, we'll take it...

What's the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it's a nail in the coffin of what you thought it meant to make 21st-century rock 'n' roll? Yeah, that sounds about right. But it misses a more important point-how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late '90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010's Warm Smile LP to the mercurial moods of 2008's The Master's Bedroom Is Worth Spending a Night In. Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse's Sacramento studio in June, reflecting the battering-ram bent of the band's live show better than any bootleg ever could. "As I'm sure most would agree," explains Dwyer, "Castlemania was more of a vocal tirade. This one's meant to pummel and throb." That it does, whether one blasts the slow, speaker-bruising build of "The Dream," the sunburnt organs and dovetailing guitars of "Crack in Your Eye" or the interstellar instrumental "Chem-Farmer," a perfect example of what happens when one takes a well-oiled machine-a gang of rabid road warriors, really-and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer's music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that's more than welcome. It's downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, "You have to leave a mark somehow."

New “Inversions” of drone rock pioneers Earth’s debut release. A collaboration between Dylan Carlson and Black Noi$e (Armand Hammer, Danny Brown, Earl Sweatshirt) formed in mutual respect and appreciation for one another. Both artists were intrigued by the creation of vast musical landscapes and the connection of music, with its ability to transport the listener. The music of Earth was recognised and celebrated for moving at a glacial pace and yet this new collaboration surprisingly saw Black Noi$e slowing things down even further.
The debut, which originally came out in 1991, notably featured Kelly Canary and Kurt Cobain on vocals on the tracks “A Bureaucratic Desire for Revenge Part 2” and “Divine and Bright”. Black Noi$e reimagines the original recordings with his experimental sensibility and innovative multi-instrumental, cross genre exploration. Applying contemporary electronics to the heavy droning bass and guitars and languid rhythms, this inversion oscillates and reverberates with a different kind of energy whilst simultaneously highlighting the much loved low slow and distorted properties of the original.

‘Extra Capsular Extraction’ was the first music Dylan made with Earth and his first time in a recording studio, which he recalls at the time as being “terribly exciting”. It also marked the first time collaborating with others and seeing it reified into a tangible object or product, a spirit that Dylan has carried through to the present. The original album is a document of a specific period and Dylan’s creative development. These inversions of Extra Capsular Extraction are, to quote Dylan, “an exciting way to reintegrate them into the present time and with my more expanded conceptions of musical endeavours”.
"Doom-metal innovators" Pitchfork.

"With guitars ramped up to the nth degree, but tuned to gut-wrenchingly low frequencies, Earth carved out a veritable canyon of pure molten drone, one which would have a profound influence on modern metal music." The Quietus

The Lost Highway of Hank Williams and the Highway To Hell of AC/DC are indeed the same damn road. Featuring 12 classic outlaw country songs done in their own inimitable style, the album was recorded completely live in the studio. The bad are supporting the release of the album as well as their 25th Anniversary with extensive live touring and festival throughout the UK, Ireland, and Western Europe throughout 2026. Full UK Tour starting FEB 11 Nerve Centre Londonderry. 12th Whelan's Dublin. 13th The Empire Music Hall Belfast. 14th Liquid Room Edinburgh. 15th PJ Molloys Dunfermline. 17th The Georgian Theatre Stockton-on-tees. 18th Docks Academy Grimsby. 19th Pocklington Arts Centre. 20th The Hairy Dog Derby, 21st Picturedrome Holmfirth. 22nd The Drill Lincoln. 24th 53 Degrees Preston. 25th Queens Hall Narberth, 26th HAYSEED DIXIE Cardiff. 27th Sin City Swansea. 28th Crickhowell. MAR 1st HAYSEED DIXIE Merthyr Tydfil. 3rd The Fleece Bristol, 4th Roadmender Northampton. 5th The Factory Live Worthing. 6th The Harlington Fleet. 7th MK11 Milton Keynes. 8th Hertford Corn Exchange.

Thawra Records and Tiny House Music are proud to announce Nafas, the debut original album by Palestinian vocalist, researcher, and composer Salwa Jaradat, set for release in March 2026.
Rooted in a traditional Arabic singing practice yet shaped by a layered and deeply personal artistic journey, Nafas marks a powerful first statement from an artist whose work moves between heritage, research, and lived experience. The album emerges from years of musical and feminist inquiry, giving renewed breath to voices, emotions, and histories that have long existed on the margins.

Salwa Jaradat’s artistic formation is grounded in classical Arabic music and oral tradition, with studies at the Edward Said National Conservatory of Music in Palestine and later in musicology in Lebanon. Alongside her work as a performer, researcher, and archivist, she has developed a practice that treats music as a space of memory, resistance, and continuity. These threads converge in Nafas—an album that does not seek to modernize tradition, but rather to inhabit it differently, allowing it to speak in the present tense.
Developed through an intensive artistic residency in Lebanon, Nafas brings together a core ensemble of regional musicians, with Jaradat’s voice at its center—measured, expansive, and deeply intentional. Across six compositions, the album unfolds patiently, moving between stillness and momentum, intimacy and collectivity, breath and release.
Nafas will be released digitally and on vinyl, reinforcing Thawra Records and Tiny House Music’s ongoing commitment to long-form artistic statements and physical formats as vessels for care, depth, and listening.

When Saracen released their debut album ‘Heroes, Saints & Fools’ back in 1981, the UK Rock scene certainly took notice. Their combination of Magnum-like melodies and Uriah Heep intensity and vocal stylings immediately endeared them to fans of the NWOBHM scene, and fans of classic British Rock in general.
All songs and lyrics were written by lead guitarist Rob Bendelow, who left prior to the release of their second album, ‘Change Of Heart’, in 1984. While this sophomore effort still contained a few Bendelow songs, the band had changed direction, moving away from the almost Pomp and NWOBHM of the debut for a more polished and Melodic Rock direction.
Unfortunately, this new direction didn’t resonate with the fans, and the band broke up not long after.
However, Bruce Mee of Now & Then Records had always been a massive Magnum and Saracen fan. Having already convinced Bob Catley to start a solo career in the late 90s, he also had very productive talks with Rob Bendelow. This great friendship resulted in the band reforming and the release of ‘Red Sky’ in 2003. Rob Bendelow and Saracen were back.
Later signing to Escape and releasing several more great albums, Rob Finally retired from the music scene a few years ago, but the band gamely soldiered on, keeping his songs and legacy alive for their many adoring fans.

In an instance of total cosmic kismet, that same Bruce Mee was also co-organiser of the inaugural ‘Tower of Fire’ UK festival, and in 2024 invited Saracen to play the event along with other well recognised names of the scene such as Nitrate, Remedy, Atack, White Skies and Gabrielle de Val. The event was multi-track recorded, and the results of the Saracen set were so good that it was decided to release a very first live album.

The title of the live album is taken from the name of their crushing opening song: ‘Crusader’. And in a further act of unbelievable karma, the magnificent album artwork and design are created by Sebastian Kozak, the very same creative artist responsible for the brilliant artwork on the band’s come-back album ‘Red Sky’ back in 2003.
All but one of the songs that day were from that incredible debut and those 5 songs, along with 3 others previously recorded live by the band, make up this totally amazing live album. For fans of Saracen and NWOBHM, this is a moment we never thought we’d ever see: a brilliant live Saracen album with vocalist Steve Bettney sounding as incredible as he did over 40 years ago.

London quartet The Leaf Library return with their bold new album After The Rain, Strange Seeds. A luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism. The sound of the album is defined by mixer John McEntire, whose work with Stereolab and Yo La Tengo (as well as a member of Tortoise/The Sea And Cake) have been major inspirations to the band.
The album explores themes of memory and place, albeit through an abstract haze – returning again and again to specific moments frozen in time: midsummer bright hot days in the Chilterns (“Sun In My Room”), meteorology and the strange movement of the weather (“Colour Chant”), red kites circling over suburban motorways (“Some Circling”), and the uncanny feeling of dusk and nighttime creatures on “The Reader’s Lamp” (titled by celebrated film director Peter Strickland). The lyrics are vivid yet elliptical, strung with abstract ideas and imagery, conjuring a gently unsettling, though never unwelcoming atmosphere. Not quite trusting your own recollection of things, while marvelling at the oddness of the natural world, the album’s title a good summation of the mix of strangeness and hope contained within.

As on past albums the band - founded by singer Kate Gibson and ex-Saloon guitarist Matt Ashton in the mid 2000s, and now completed by drummer Lewis Young and bassist Gareth Jones - have involved their extended musical family, including guitarist Mike Cranny (of fellow drone pop travellers Firestations) and keyboardist Irina Shtreis, both members of the Leaf Library live band. The album also sees the return of James Underwood’s Iskra Strings, a quartet that features on 4 tracks, with sumptuous arrangements by Daniel Fordham, as well as regular contributor Melinda Bronstein on vocals and Will Twynham (Dimorphodons) on harpsichord. They also welcomed Paddy Milner (on Hammond organ) and Scott McKeon (guitar) – both current members of Tom Jones’ band – for a startlingly delicate rolling crescendo to closing track “There Was Always A Golden Age”.
After The Rain, Strange Seeds is their 4th studio album. The result is The Leaf Library’s most accomplished and affecting work, John McEntire’s mix bringing a bold clarity to the band’s meticulous arrangements – closer to how they sound live than anything they’ve done before.

Inspired by the long tradition of radical country and folk artists, longtime friends Sally Buice and Molly Rochelson use their passion for literature and storytelling to craft an album that reckons with the current global fever pitch. The album's 12 introspective, thematically and sonically layered tracks chart a transformative pilgrimage through an inextricably connected world. A woman desperate to save her community from a gas pipeline in "Plains of Ohio," a devout grandmother traveling across the world to Yugoslavia in search of the Virgin Mary in "Our Lady," and a trouble- making Bible College misfit in "Loud and Clear" are just a few of the archetypes listeners meet.

The Cincinnati-based duo cut their teeth as teens busking on Market Square in Knoxville, TN. Produced by Eli LoPinto (Chris Stapleton), the duo opted for a bigger sound and the result is a bonafide, left-of-center indie country record. Path of Totality does not shy away from the weight of political strife and catastrophe, opting instead to boldly confront it, bringing to bear the power to unite us all.

Against all odds, a devout audience has ridden shotgun and grown with them every step of the way. This symbiotic relationship speaks to the band's quiet impact with over 167 million streams in the United States alone, widespread acclaim, and sold-out shows. They loudly carved out their own corner of heavy music with an inimitable hybrid of head-crushing polyrhythmic prog-spiked metal, hardcore spirit, and unbridled attitude.

They have assuredly leveled up over the course of albums such as Via 2011, No Sleep [2014], Different Animals [2017], and Happier? [2021]. Kerrang! hailed the latter as "an album that gives a nod to the band's past while still bringing in new ideas." Meanwhile, the group shared stages on tour with everyone from Ice Nine Kills and Born of Osiris to Dance Gavin Dance and Counterparts.

Spanning dance and indie movements since their formation in Liverpool at the end of the last millennium, Ladytron have earned a unique position by carving out new sonic and conceptual space, and refusing to abide by formula or trend. In the early 2000s, the fiercely individual group were placed at the forefront of the so-called electro-clash scene (which now enjoys another revival), but with time, they came to appreciate the pop cultural moment that they had reluctantly become part of. The new album follows a period of renewed cultural presence for the band. Their 2002 single "Seventeen" unexpectedly went viral on TikTok, introducing Ladytron's sound to a new generation and amassing hundreds of thousands of fan- made clips. Their legacy was further acknowledged recently with "Destroy Everything You Touch," one of their most celebrated tracks, featured in the GRAMMY- nominated original Motion Picture Soundtrack of cult movie Saltburn, reaffirming Ladytron's enduring appeal

Here we find ourselves, among the Canadian miscreants Egregore whereupon they return from whence the wind howls like a damned choir and the Earth knows no master, to chart a broader sonic wilderness via ‘It Echoes In The Wild’. And much as sea-rogues and freebooters sought fortune upon blackened waters, so too does Egregore venture musically into diabolic and ungoverned lands. Presenting something more expansive, elemental and untamed on ‘It Echoes In The Wild’, the early occult Black Death Metal lunacy embraces atmospheric breadth equally alongside primitive force to delve deep into not only geographic wilds, but the psychological, esoteric and spiritual hinterlands at the edges of complete madness. Dark invocations and secret tongues draw forth echoes from forest and fen, cave and cliff, tempting the temporally tethered to receive the curse, all the while driven by a primal, unknowable sardonic menace. Though the voyage be perilous, to succumb to ‘It Echoes In The Wild’ is to become ensconced in a lawless dominion of the soul in service of a higher call. Mirroring nature’s unbridled forces and the hidden echoes that dwell within, Egregore’s second album takes the band’s mystical insanity and magickal perversion to the edge of the abyss and plunges forward.