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After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.

With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.

The Chicago trio of Black Duck is a natural fit for collaboration with acclaimed Basque musician Elena Setién. Black Duck"s bassist/guitarist Douglas McCombs, guitarist Bill MacKay and drummer Charles Rumback have been lauded for their adaptability as live performers and collaborators for decades, performing in countless ensembles from Tortoise to Brokeback to collaborations with Ryley Walker, Bill Callahan, James Singleton and many more. Setién honed her improvisational skills in duo Little Red Suitcase before going on to collaborate with the likes of Steve Gunn, Mary Lattimore, and Glenn Kotche (Wilco) to name a few. Black Duck and Elena Setién"s combined preternatural ability to converse at the boundaries of improvisation and composition makes for fertile ground in which every subtle gesture carries weight. On their debut, self-titled collaborative release, Black Duck and Elena Setién alchemize the ease of their live chemistry and their wealth of experience into a refined menagerie.

What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn't be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman's bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, "Dead End" which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin's sublime falsetto floating atop Tony and Eric's unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. "Breathe" showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony's father, Big Tone, an accomplished performer himself, steps in on "Peter Pan" to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on "Sorry", a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels' NYC aesthetic has proven to be an amazing combination. It's a debut record that pulls influences from so many genres seamlessly it's hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we've decided to call it BUCK.

Piece of Me, das zweite Album von Lady Wray, ist so etwas wie eine Heimkehr für Nicole. Während ihr Solo-Debüt Queen Alone aus dem Jahr 2016 mehr in Richtung Soul und R&B mit einem Hauch von HipHop tendierte, ändert sich dies bei diesem Album. Es ist immer noch R&B mit den Texturen von analogem Soul, doch zeichnet sich ein starker HipHop-Einfluss ab, der Nicoles Schaffen für die Zukunft definieren wird. Boom-Bap-Drums und deepe Basslines stehen im Vordergrund und bilden den perfekten Hintergrund für Lady Wray, die sich auf ihrer bisher persönlichsten Sammlung von Songs mit dem Guten, dem Schlechten, dem Schwierigen und dem Freudvollen auseinandersetzt. Der Titelsong Piece of Me, der seit seiner Veröffentlichung 2019 bereits zum Klassiker geworden ist, handelt von den Menschen in deinem Leben, die mehr brauchen, als du zu geben bereit bist. Dieses Stück und die B-Seite der 7" Come On In waren die ersten Songs, die für dieses Album aufgenommen wurden - als Nicole im achten Monat schwanger mit ihrer Tochter war. Ihre Stimme ist so kraftvoll, so rau bei diesen ersten Songs, erstaunlich, wenn man sich vor Augen führt, wie sie aufgenommen wurden. Und noch verrückter ist es, zu wissen, dass sie sie alle in einem einzigen Take aufgenommen hat. Ihr langjährige Mitstreiter und Produzent Leon Michels entwirft das musikalische Fundament gekonnt zurückhaltend, um Lady Wray ausreichend Raum zu geben. Während die energiegeladenen Songs Under The Sun und Through It All mit Sicherheit zu Hits werden, die Lady Wray wieder mit ihrer R&B-Fangemeinde aus den 90ern connecten, zeigt Where Were You, wie ihre Jugendjahre wirklich waren. in dem poetischen und kraftvollen Beauty In The Fire setzt sich Nicole mit den Spannungen zwischen den Ethnien in Amerika auseinander und lässt sich im Showstopper Thank You stark von ihrem Glauben und ihrempfindet und in Joy & Pain feiert sie die Höhen und Tiefen des Lebens. Im Jahr 2021 ist es eher selten, ein eklektisches und doch zusammenhängendes Album ohne ,Ausreißer" zu hören - aber genau das ist Piece Of Me. Die bewährte Chemie zwischen Lady Wray und Leon Michels hat unbestreitbar das nächste Level erreicht, dieses Album ist ein Zeugnis ihrer Entschlossenheit und Hingabe.

LIMITED EDITION FIRST PRESS OF 300 COPIES ON TRANSPARENT RED VINYL WITH JAPANESE STYLE OBI. NON-RETURNABLE.
Osaka quartet HIBUSHIBIRE return this August with their fifth studio album ‘Phantom Fuzzy Exotica‘.
Phantom Fuzzy Exotica continues to find the band exploring their own little universe, where psychedelia, 70’s hard rock and folk rock influences collide. You’ve got the short punchy riff heavy songs, the mellow time-out bits, and of course the epic psych jams and more vocals then previously. It’s all here, and as always they deliver the goods.
Phantom Fuzzy Exotica … in the bands own words
The initial image behind this album was “phantoms”- things that seem to exist, yet somehow don’t. Another thing that sets this album apart from our previous releases is that four of the five tracks feature vocals. The only instrumental is “Invocation and Ritual Dance of the Electric Nonsense.” We didn’t consciously plan it that way; it just happened naturally. After finishing last year’s tour, we didn’t have much time, but everyone’s ideas came together, and I think we’ve created an album we’re truly satisfied with.
Mandrake Oracle: The opening track of the album.Built around a single guitar riff by changchang, while the other instruments and electronics keep pushing the music forward. Personally, I imagined Deep Purple playing a Pink Floyd song while writing this one.
Minagoroshi Western: Imagined as the soundtrack to a fictional spaghetti western. In the end … everybody dies.
Daydream Rendezvous: A piece of daydream acid psychedelic folk.
Invocation and Ritual Dance of the Electric Nonsense: Hard psychedelic jazz rock. The title is a little nod to Frank Zappa.
Ai Vist Lo Lop (Cover): I’ve always loved Ai Vist Lo Lop by the wonderful Occitan traditional band Mont-Jòia, and I’d wanted to cover it someday. We especially enjoyed creating the a cappella section and finding the right sound for the main melody.
We sincerely hope you enjoy listening to this album as much as we enjoyed making it. — changchang
The Phantom Fuzzy Exotica European Tour 2026
AUGUST
19th Archive, Liverpool (UK) , 20th Ivory Blacks, Glasgow (UK), 21st The Golden Lion, Todmorden (UK), 22nd The Bunkhouse, Swansea (UK), 23rd Beautiful Days, Devon (UK), 25th The Peer Hat, Manchester (UK), 26th Le Pub, Newport (UK), 27th Strongroom Bar, London (UK) with Black Helium, 28th The Holloway, Norwich (UK), 29th The Sunflower Lounge, Birmingham (UK), 30th The Piper, St Leonards (UK) with Black Helium
SEPTEMBER
1st DND, Dunkirk (FR), 3rd Pilsen Busking Fest, Pilsen (CZ), 4th Pilsen Busking Fest, Pilsen (CZ), 6th Riff, Budapest (HU), 7th Végállomás Klub, Szombathely (HU), 8th A Beton, Győr (HU), 9th Chemiefabrik, Dresden (DE), 10th Bar Neun, Berlin (DE), 11th Subsol, Dusseldorf (DE), 12th Magasin 4, Brussels (BE), 13th De Onderbroek, Nijmegen (NL), 14th La Bulle Café, Lille (FR)
HIBUSHIBIRE are
Changchang (Guitar/Vocal/Bouzouki/Electronics/Melting Eye Spectacle), Tetsuji Toyoda (Bass/Vocal/Mermaid Mountain), AOI HAMA (Drums/Vocal/Cat Tongue Queen), Kohei Katsuma (Conga/Vocal/Theremin/Percussion/God Dog Family)

Mixed Emotions: Das legendäre Comeback-Album „We Belong Together“ erstmals auf Vinyl!
„Tag Alter, ick bin Drafi“. Mit diesen inzwischen legendären Worten begrüßte Poplegende Drafi Deutscher
im Jahr 1986 den jungen Sänger Oliver Simon. Es war der Beginn einer der erfolgreichsten Duo-Partnerschaften
der deutschen Musikgeschichte. Jetzt, genau 40 Jahre nach ihrer Gründung, erscheint das gefeierte
Comeback-Werk „We Belong Together“ aus dem Jahr 1999 zum ersten Mal auf edlem schwarzem Vinyl.
Eine Erfolgsgeschichte der Extraklasse
Was ursprünglich als Solo-Projekt für Oliver Simon geplant war, entwickelte sich unter der Regie von
Mastermind Drafi Deutscher schnell zum Pop-Phänomen Mixed Emotions. Die Kombination aus Drafis
markantem Timbre und Olivers glasklarer Stimme traf den Nerv der Zeit:
Chart-Rekorde: 1987 mit drei Singles gleichzeitig in den Single-Charts.
Edelmetall: Gold- und Platin-Auszeichnungen für beide Alben in den 80ern.
Internationale Hits: Erfolge weit über die Grenzen Europas hinaus, bis nach Südafrika.
Das 1999er Comeback: Mehr als nur Nostalgie
Nach der Trennung 1989 kehrten Mixed Emotions zehn Jahre später spektakulär zurück. Statt lediglich alte
Aufnahmen neu zu mischen, entschied sich das Duo für komplette Neuaufnahmen ihrer größten Klassiker
und Albumtracks, sowie für neue Hits wie den Uptempo-Ohrwurm „You Are My Angel“. Erneut stürmten
sie die Top 30 der Album-Charts und begeisterten Millionen in zahlreichen TV-Shows. Die musikalische
Chemie war auch nach einer Dekade Pause ungebrochen.
Exklusives Highlight für Sammler
Die vorliegende Vinyl-Edition bringt diesen Meilenstein der Pop-Schlager-Geschichte erstmals auf dem
„schwarzen Gold“ zurück. Als besonderes Schmankerl enthält die LP den brandneuen 2026er DJ Herzbeat
Remix von „Just For You“, der den unverkennbaren Mixed-Emotions-Sound perfekt in die heutige Zeit
übersetzt. Die Vinyl ist limitiert auf 500 Stück und nummeriert.
Die musikalische Formel von Mixed Emotions bleibt zeitlos. Für Drafi, Oliver und ihre treuen Fans gilt
auch heute mehr denn je: We Belong Together!

The Fall war eine englische Post-Punk-Band, die 1976 in Manchester gegründet wurde. Die Band existierte seither in wechselnden Besetzungen fort und war im Wesentlichen um ihren Gründer und einziges konstantes Mitglied, den verstorbenen Mark E. Smith, aufgebaut. Obwohl die Gruppe anfangs der Punk-Bewegung der späten 1970er Jahre zugeordnet wurde, durchlief ihre Musik im Laufe der Jahre etliche stilistische Wandlungen; sie zeichnet sich jedoch häufig durch einen rauen, gitarrenlastigen Sound sowie den wiederholten Einsatz von Repetitionen aus und wird stets von Smiths unverwechselbarem Gesang und oft kryptischen Texten getragen.

Die Band ist bekannt für ihre enorme Produktivität: Sie veröffentlichte über 25 Studioalben – eine Zahl, die sich mehr als verdreifacht, wenn man Live-Alben und sonstige Veröffentlichungen hinzurechnet. Über eine Handvoll kleinerer Hit-Singles in den späten 1980er Jahren hinaus blieb ihnen ein breiter kommerzieller Erfolg zwar verwehrt, doch konnten sie sich eine treue Fangemeinde mit Kultstatus bewahren. Die Band pflegte über lange Zeit eine enge Verbindung zu dem BBC-DJ John Peel, der sie bereits früh in ihrer Karriere nachdrücklich unterstützte und The Fall als seine Lieblingsband bezeichnete – mit der berühmten Begründung: „Sie sind immer anders; sie sind immer gleich.“

Swiss hard rock veterans Shakra return with renewed fire and unstoppable energy on *Just Live Loud*, their explosive new studio album and the band’s very first release through Frontiers Music Srl. Fueled by massive riffs, soaring melodies, and the unmistakable chemistry that has defined Shakra for decades, the album captures the spirit of classic European hard rock while pushing the band into a heavier, more modern sonic territory. Produced with a raw yet polished approach, *Just Live Loud* delivers a powerful mix of thunderous anthems, emotionally charged ballads, and adrenaline-fueled rockers designed for both festival stages and late-night highway drives. From razor-sharp guitar work and pounding rhythms to towering vocal hooks, every track reflects the band’s commitment to authenticity, passion, and pure rock’n’roll attitude. Lyrically, the album celebrates resilience, freedom, brotherhood, and the determination to live life at full volume — themes that resonate deeply with the band’s own journey through the international hard rock scene. *Just Live Loud* also marks an exciting new chapter for Shakra, combining the experience and songwriting strength of their legacy years with a fresh creative momentum that feels more vital than ever. With this landmark release, Shakra reaffirm their status as one of Switzerland’s premier hard rock exports and prove that true melodic heavy rock is alive, loud, and ready to conquer a new generation of fans.

Originally released in 1992 and long elusive to collectors, this timeless tour-de-force launched the international career of the acclaimed singer- songwriter. Backed by an incredible lineup of musicians assembled by musical director and second guitarist Bruce Dunlap , the album showcases Sara's distinctive voice and unique 4- string acoustic guitar style. While her songwriting seamlessly weaves together elements of jazz and folk, the album poses a brilliant artistic statement: an intuitive, live dialogue that transitions effortlessly from sweet serenity to thunderous emotion. Rather than standard acoustic arrangements, the world- class ensemble treats the material with deep empathy, subtle accents, and constant creative daring

The album's centerpiece, the delightfully breezy "Flowers," has racked up 26 million Spotify plays on its own, with the full album cracking an astonishing 37 million and The Deli himself gaining 1.7 million monthly listeners. In The Deli's case, this success in the digital realm only whets an appetite for the physical. Now Cold Busted is remastering and repressing the out-of-print Vibes 3 LP on vinyl. And it's purple vinyl to boot. The album's 18 cuts serve up proper old school vibes, dropping beats that'll make one reminisce while also anticipating the new. In addition to "Flowers," the album contains other worthy contenders like the smooth "Luv Shxt," which grooves with gentle jazz guitar and a lonely horn under a snappy beat; "Rain" and its simple introspection; the lovely lazy ride of "4Tina;" and album opener "1B4W" which sets things properly on the smoky late-night-lounging tip.

With features from an all-star cast including Dizzee Rascal, Method Man, Roots Manuva, Rodney P, Jehst, P Money, Chester P, Rude Kid and with production from Basquiat, Leaf Dog, Mystry, Illinformed, Kidkanevil, Forest DLG, Pete Cannon, Muckanicks, Pitch 92 & more, we are delighted to reveal the latest incarnation of ‘WIZVILLE’ in a Limited Edition 2x12” Smoky Marble Vinyl Repress w/ Gold Embossed Cover in Super Limited Numbers.

There's a confidence in calling something 'cheesy' before anyone else gets the chance to. The Lazy Eyes lean into it, they have an understanding that sincerity, when left out in the open long enough, will always risks ridicule. But what's remarkable on Cheesy Love Songs is how little they flinch for a young band dropping a sophomore album.
This is a record that understands its inheritance. You can hear the ghosts of bedroom psych, of records made by young people who discovered that distortion could double as a shield, that reverb could make even the most fragile confession feel infinite. But Cheesy Love Songs doesn't hide inside those textures, it lets them bloom until they almost overwhelm the room, like a feeling you tried to downplay that instead insists on becoming the only thing you can hear.

The kaleidoscopic guitars, the melodies that feel like they've been unearthed rather than written, the way it treats love as both spectacle and small disaster. These are songs that circle the same emotional drain: wanting too much, too quickly, and then sitting in the quiet aftermath of having said it out loud. The band doesn't pretend that intensity is sustainable; instead, they document the crash with the same care as the ascent.

In that way, Cheesy Love Songs feels like a document of early belief — the kind that arrives before irony calcifies, before restraint feels like wisdom. It's a record made by a band still willing to risk the embarrassment of being 'cheesy' in pursuit of something louder, brighter, and more honest than cool. And maybe that's what makes it an iconic modern Australian sophomore album: not just that it captures a moment in time for the band, but that it refuses to outgrow it.

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

Aufgenommen am 3. Juli 1960 beim legendären Newport Jazz Festival, zeigt At Newport 1960 Muddy
Waters in Höchstform. Begleitet von Otis Spann am Piano, Pat Hare an der Gitarre, Andrew Stevens
am Bass, Francis Clay am Schlagzeug und James Cotton an der Mundharmonika präsentiert Waters eine
mitreißende Performance, die tief in der Tradition des Blues verwurzelt und zugleich erstaunlich modern
klingt.
At Newport 1960 gilt als Meilenstein der Bluesgeschichte. Das Album trug maßgeblich dazu bei, den
Blues einem breiteren Publikum zugänglich zu machen, und festigte Muddy Waters’ Ruf als einer der
Väter des elektrischen Blues. Zu den Höhepunkten zählen Klassiker wie „I’m Your Hoochie Coochie Man“,
„Baby, Please Don’t Go“, „Got My Mojo Working“ sowie „Goodbye Newport Blues“ von Langston Hughes.
Erleben Sie den unverwechselbaren Klang eines der bedeutendsten Blues-Labels Amerikas in audiophiler
Qualität – mit der Chess Records Acoustic Sounds Series. Für diese hochwertigen Neuauflagen wurden
klassische Alben und Compilations aus dem Chess-Records-Katalog sorgfältig von den originalen analogen Masterbändern neu gemastert und auf 180-Gramm-Vinyl bei Quality Record Pressings gefertigt. Jede Ausgabe erscheint in einem hochwertigen Tip-on-Gatefold-Cover aus erstklassigem Karton und wird damit
auch höchsten Ansprüchen an Klang und Ausstattung gerecht

¡Hola amigos! ¡Dieciséis guarniciones de chile picante, peyote loco y tequila helado! ¡Hermoso!
If there's one thing I'm good at it's finding records. It doesn't matter where in the world I am, I find records, the best records, the rarest records. And always in Mint condition. I have a knack for it. One place I like to hunt for records is South of the Border, in Mexico. You can find great records there, way out in those pequeños pueblos del desierto. Another great thing you can find is cactus.
Mexico is famous for cactus. You got your Ariocarpus, your Turbinicarpus, your Mammillaria. You got cactus of all kinds, big and small. Little ones like Eplithelantha, psychedelic ones like the peyote Lophophora, and rare ones like Aztekium. But my favourite is Mammillaria humboldtii. Now this one is very hard to find. The villagers over in Hidalgo know where it is, and they go high up in the mountains to look for it.

Now these guys, they take their time. But when they come down from those mountains, they bring back the most beautiful specimens. I really mean it, they're beautiful. They're like clumps of fluffy white golf balls, and they have these cute little pink flowers. Beautiful I tell ya. I pay precio alto for a good specimen of Mammillaria humboldtii.

,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

offerings is a new project from Bruno Silva (Ondness, Serpente) and Gonçalo F. Cardoso (Lagoss, Prophetas, Hannibal Chew III).

Born from a shared obsession with the peripheral—rain puddles, empty city spaces and the flickering crawl of late-night credits—the album occupies a stalled threshold; a space that refuses to resolve into a clear image. It does not strive for the "new" nor the "old"; it exists in a state of suspension, like end credits that refuse to roll, fixed in a permanent noumenal state.

Composed through a frantic exchange of files during the stormy winter of 2026, End Credits Noumena functions as a document of inner domestic spaces. It captures a floating, jam-like camaraderie between two artists with shared fixations and divergent sound palettes. The result is gritty and acetic — a series of random, eerie transmissions that remain strangely inviting. These are offerings, left over for whoever chooses to claim them.

The West Coast's contribution to hardcore punk is undeniable. That tradition of aggression, passion, and scrappy melodicism continues with The Barbarians Of California, an engaging new manifestation of iconoclastic spirit and true bombast. Born from the shared passion of Aaron Bruno (AWOLNATION) and his longtime engineer Eric Stenman - who cut his teeth in the same Sacramento community that eventually launched diverse and disparate acts like Deftones, Far, Will Haven, Team Sleep, Hella, Dance Gavin Dance, Death Grips, and Trash Talk - the spirit of the underground and the personal catharsis delivered through metallic hardcore never left either of them. So, when Aaron learned that Eric crafted a batch of throwback bangers combining impassioned angst with modern sensibilities, he wanted in immediately. The Barbarians of California was born.

In 2024, the band released their debut album, And Now I'm Just Gnashing My Teeth, and celebrated with a high-energy show at the iconic Troubadour in Los Angeles, cementing their place in the hardcore scene's next chapter. Since then, they've continued to build momentum with headline shows across LA, a summer 2025 arena tour with Deftones and other festival appearances that brought their explosive live presence to a wider audience. Dropping two new singles in 2025 including a collaboration with Keith Buckley (Every Time I Die/Many Eyes), The Barbarians Of California are gearing up in 2026 for the release of their sophomore album, MEGATONS. With their second full length, The Barbarians of California are unleashing fresh chaos straight from the sun-soaked, teeth-gnashing heart of the Golden State. Blending raw hardcore energy, razor-sharp riffs, and that signature mix of ferocity and tongue-in-cheek humor, these new songs hit like a caffeine-fueled fever dream.

For nearly three decades, MARTYRIUM have carried the banner of blackened thrash metal through the Dutch underground. Unconcerned with trends and passing fashions, the band have remained committed to a sound built on aggression, speed and atmosphere. "Malevolent" continues that path with confidence. Rooted firmly in black/thrash metal and sharpened by occasional death metal influences, the album delivers eleven tracks where controlled chaos meets total destruction. Every song serves the greater whole, resulting in a cohesive album that remains furious from beginning to end. There are no compromises and no detours on Malevolent - just a band doing exactly what it has believed in since 1996.

It’s no disrespect to the man to not believe, in part or in whole, every word that Ray Wylie Hubbard writes, sings, or speaks — and frankly, he’d probably respect you a little less if you did. As celebrated songwriters of the outlaw poet/down-home-country-blues persuasion go, Hubbard’s credibility is unimpeachable. And to be fair, even as a somewhat notorious raconteur, his overall truthiness is a lot more bankable than your average politician or fundamentalist grifter.

But fold your cards every time he goes all in across a table from you, or swallow as fact every nugget of wisdom he sharpens into verse or stretches into a yarn without catching the gleam in his eye or wry tell between the lines, and odds are you’ve been played. But honestly, that’s all just part of what makes Hubbard so damn fun. “You know, a lot of artists when they put out a record, they go, ‘This is the best record I’ve done up to this point,’” the Americana legend considers sagely after a pause when asked how to best sum up Reel 2 Reel 4 Real, his 20th album in a recording career stretching back to the mid-70s. “But I’m not going to say this is the best record I’ve done. I’ll say it’s the best record I’ve ever heard.” No matter how many awards and Hall of Fame inductions others might honor him with (he’s a member of both the Austin Music HOF and the Texas Heritage Songwriters HOF), Hubbard never swaggers or sings his own praises without keeping his tongue planted firmly in cheek.

But after brushing aside his bluff with a chuckle, Hubbard gets real. “I am very proud of it,” he answers sincerely. “Everybody that played on it put a lot of work into it, and it just felt right doing it. I’m very grateful.” Set for release August 21, 2026 (with the first taste, “Cassette Mix Tape,” dropping May 29, followed later this summer by a second single, “Dog or Wolf”), Reel 2 Reel 4 Real marks Hubbard’s return after a two-album major-label joyride on Nashville’s Big Machine Records. “They treated me great, and did everything they could,” he says, “but it was kind of limited because I’m an old guy. I’m no longer a country hunk, you know?”

Als Gitarrist Grant Green im September 1964 zum ersten Mal mit dem Hammond-Organisten Larry Young
und dem Schlagzeuger Elvin Jones ins Studio ging, um das mitreißende Trio-Album “Talkin’ About!”
einzuspielen, lag Hochspannung in der Luft. Zwischen den drei Musikern entwickelte sich auf Anhieb eine
besondere Chemie, die nach einer Fortsetzung der Zusammenarbeit verlangte. Bereits zwei Monate später
kehrten sie mit dem Vibrafonisten Bobby Hutcherson ins Studio zurück, um das Album “Street of Dreams”
aufzunehmen, auf dem sie sich von ihrer subtileren Seite zeigten. Bei der Zusammenstellung des Repertoires, das von atmosphärischer Eleganz geprägt ist, setzten die Musiker auf seltener gespielte Standards
und Songs, die normalerweise nicht von Jazzinstrumentalisten aufgenommen werden.

Mit seinem 1965 erschienenen Album We’re Gonna Make It vereinte Little Milton die emotionale Tiefe des
Blues mit dem modernen Sound des Soul auf beeindruckende Weise. Nachdem der aus Mississippi stammende Sänger, Gitarrist und Songwriter Anfang der 1960er-Jahre über das Chess-Label Checker Records zur
Chess-Familie gestoßen war, verlieh er dem Traditionslabel mit seinem unverwechselbaren Stil neue Impulse.
Der Titelsong „We’re Gonna Make It“, eine eindrucksvolle Hymne, die eng mit der aufstrebenden amerikanischen Bürgerrechtsbewegung verbunden ist, hielt sich drei Wochen in Folge an der Spitze der US-amerikanischen
R&B-Charts. Das Album unterstreicht Little Miltons außergewöhnliche stimmliche Ausdruckskraft, seine
präzise Phrasierung und sein außergewöhnliches Gespür für die Verbindung von Blues und Soul – Qualitäten, die seinen Crossover-Erfolg maßgeblich begründeten. Zu den weiteren Höhepunkten zählen „Who’s
Cheating Who?“, „Blind Man“ und „Stand By Me“.
Erleben Sie den unverwechselbaren Klang eines der bedeutendsten Blues-Labels Amerikas in audiophiler
Qualität – mit der Chess Records Acoustic Sounds Series. Für diese hochwertigen Neuauflagen wurden
klassische Alben und Compilations aus dem Chess-Records-Katalog sorgfältig von den originalen analogen
Masterbändern neu gemastert und auf 180-Gramm-Vinyl bei Quality Record Pressings gefertigt. Jede Ausgabe erscheint in einem hochwertigen Tip-on-Gatefold-Cover aus erstklassigem Karton und erfüllt damit
höchste Ansprüche an Klangqualität und Verarbeitung.

On Squirrel Flower's new album, Say a Prayer to the Gods of Getting Going, songwriter and multi-instrumentalist, Ella Williams, delivers her most transcendent and instantly classic record to date. It's an album full of hope and beauty, with themes of staying in constant motion, electric love, and knowing when to leave, but also when to stick around. After touring in support of 2023's Tomorrow's Fire, Williams remained on the road, following instinct over itinerary_passing through Gary, Indiana; Los Angeles; Putney, Vermont; Silver City, New Mexico; and Hudson, New York. Each stop became a site of creative renewal. She ended up recording the album at two locations: a makeshift studio in rural Wisconsin, and at Drop of Sun in Asheville, NC, featuring friends and collaborators such as Dimitri Giannpolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks, Hazel City), and many others along the way. Standouts like "Reelin" and "Highway Woman" showcase the push and pull of life as a musician; the constant need for embarking on a hero's journey in search of reflection and freedom. Others like "Not Me" and "Cleveland" are classic Squirrel Flower, but with a sharper and more concentrated writing style paired with some of Williams' strongest vocal delivery of her career. Mixed and co-produced by Alex Farrar (MJ Lenderman, Wednesday), Say a Prayer to the Gods of Getting Going is the sound of cosmic rebirth, looking behind to illuminate what's ahead. "Pack your life and your guitar," Williams sings on "Highway Woman." "You can change it as you go. You do not plan on dying." In addition to her seemingly nonstop DISABLED touring across North America and Europe, Squirrel Flower has been featured in outlets such as Pitchfork, Rolling Stone, The NY Times, Paste, and many others, as well as performances at NPR's Tiny Desk & KEXP. Williams' music has been streamed millions of times around the globe, proving her to be an undeniable force as a songwriter. FOR FANS OF Indigo De Souza, Soccer Mommy, Katy Kirby, Julia Jacklin, Tomberlin, Hand Habits, Phoebe Bridgers, Waxahatchee, PJ Harvey, Grouper, Chelsea Wolfe, Moses Sumney, Cat Power, Liz Phair, Alex G, Mazzy Star, Julie Byrne, Big Thief.

On Squirrel Flower's new album, Say a Prayer to the Gods of Getting Going, songwriter and multi-instrumentalist, Ella Williams, delivers her most transcendent and instantly classic record to date. It's an album full of hope and beauty, with themes of staying in constant motion, electric love, and knowing when to leave, but also when to stick around. After touring in support of 2023's Tomorrow's Fire, Williams remained on the road, following instinct over itinerary_passing through Gary, Indiana; Los Angeles; Putney, Vermont; Silver City, New Mexico; and Hudson, New York. Each stop became a site of creative renewal. She ended up recording the album at two locations: a makeshift studio in rural Wisconsin, and at Drop of Sun in Asheville, NC, featuring friends and collaborators such as Dimitri Giannpolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks, Hazel City), and many others along the way. Standouts like "Reelin" and "Highway Woman" showcase the push and pull of life as a musician; the constant need for embarking on a hero's journey in search of reflection and freedom. Others like "Not Me" and "Cleveland" are classic Squirrel Flower, but with a sharper and more concentrated writing style paired with some of Williams' strongest vocal delivery of her career. Mixed and co-produced by Alex Farrar (MJ Lenderman, Wednesday), Say a Prayer to the Gods of Getting Going is the sound of cosmic rebirth, looking behind to illuminate what's ahead. "Pack your life and your guitar," Williams sings on "Highway Woman." "You can change it as you go. You do not plan on dying." In addition to her seemingly nonstop DISABLED touring across North America and Europe, Squirrel Flower has been featured in outlets such as Pitchfork, Rolling Stone, The NY Times, Paste, and many others, as well as performances at NPR's Tiny Desk & KEXP. Williams' music has been streamed millions of times around the globe, proving her to be an undeniable force as a songwriter. FOR FANS OF Indigo De Souza, Soccer Mommy, Katy Kirby, Julia Jacklin, Tomberlin, Hand Habits, Phoebe Bridgers, Waxahatchee, PJ Harvey, Grouper, Chelsea Wolfe, Moses Sumney, Cat Power, Liz Phair, Alex G, Mazzy Star, Julie Byrne, Big Thief.

Underground Hip Hop vets, Dillon & Paten Locke aroused appetites with their 2016 standout release, 'Food Chain', the follow-up to 2009's cult classic, 'Studies in Hunger' and prequel to 2025's 'Rations'. The flagship release of their fledgling label, FULL PLATE, 'Food Chain' opened many doors (and ears) for the Atlanta, GA /Jacksonville, FL based crew, setting the table for their sprawling catalog today.
Produced entirely by Paten Locke (the Boston-bred triple threat who cut his teeth with Mr. Lif, Akrobatik, Edan and his groups: Asamov + The Smile Rays), Food Chain's recipe starts with rugged chops of impossibly rare samples from Paten's world-renowned vinyl collection. Once that's simmering, just add Dillon's razor sharp rhymes; ranging from aggressively self-sure to deeply self-reflective, then finish with their signature seasoning - comedic relief! Food Chain also boasts an impressive list of guest features including Count Bass D, Homeboy Sandman, Supa Dave West, J-Live, Von Pea of Tanya Morgan, Phill Most Chill, Boog Brown, Malkovich, Tone Tank and their FULL PLATE FAM, Willie Evans Jr. Too many chefs? We say, 'Let 'em cook!!'
Now 10 years later this critically acclaimed album receives the treatment it deserves: a proper double LP pressing of the album in its entirety - including a lost bonus intro + bespoke poster insert. 2016's pressing was an abridged single LP that was missing songs, interludes & skits in order to fit the time limits of the format. With the 2xLP, you finally get to enjoy the full album, they way it was meant to be heard. What makes this 10th Anniversary reissue even heavier is that Paten Locke passed in 2019 and never got to see the full impact of his work, so this release doubles as a delicious celebration of Paten's lifelong creative pursuits & accomplishments.

This album remains a fan favorite for its intimate atmosphere, featuring Susan's trademark soulful and breathy vocals set against tasteful, uncluttered arrangements. The tracklist is a masterclass in light jazz and soft pop, featuring definitive covers of eleven classics such as "Close to You," "Stay Awhile," "Killing Me Softly With His Song," and "Love Will Keep Us Alive." Every performance is delivered with a natural, immersive presence that showcases her impeccable phrasing and emotional depth. An important release in Susan Wong's career, Close to You has been remastered and will be released on 180g One- step Pressing vinyl LP, MQA-CD and Stereo Hybrid SACD, with new liner notes.

Jetzt auch als "Translucent Purple Vinyl" LP erhältlich. ,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.

Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.

»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.

Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.

Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.

Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul

Following their eponymous 2023 debut, Chestnut People once again emerge from the Wood to deliver Volume 2, a lichen-scented batch of blissed IDM and crackling tech. While retaining the filtering step of its predecessor, Volume 2 plunges deeper into the honey pot with rich melodic density, recalling the gentle pluckings and starry-eyed glitch of 00s Icelandic electronica. The music unfurls in programmatic detail like a misted forest dream–winged creatures buzzing as brush collapses under our feet.

Sofía Viola and Chancha Vía Circuito unite on Oro en Ti, a deeply spiritual collaboration shaped by their shared roots in the southern suburbs of Buenos Aires. Blending Latin American folk traditions with hypnotic percussion, ambient textures, and Eastern influences, the album explores themes of nature, faith, humanity, and inner connection through a warm, meditative lens. Chancha Vía Circuito brings significant international profile to the project, built through years of globally acclaimed DJ sets, nearly 200 million cumulative streams across DSPs, and strong physical sales over the past decade. His work has been championed by outlets including Resident Advisor, Pitchfork, Billboard, The Guardian, NPR, and The Fader.

Since emerging from the Buenos Aires underground,Sofía Viola has built a strong reputation across Latin America and Europe through her singular songwriting and live performances, earning selections to major international showcase festivals including IMESUR, Circulart, FIMPRO, BIME Pro, and MAPAS. Oro en Ti captures the chemistry between both artists through devotional songwriting and richly textured production, offering an emotionally resonant and transportive listening experience that feels both timeless and deeply connected to the present moment.

Cheap Trick - At Budokan: The Complete Concert is the the full version of the famous best-selling live album by the American rock band Cheap Trick. The louder, roaring versions of classics like "I Want You to Want Me" and "Surrender" connected to a wide audience in the late 1970s.

The recording became the band's best-selling album and captures the performance exactly as it was experienced on stage. Their raw-powered riffage and three-chord songs, combined with the posterboy looks of singer Robin Zander and the outrageous guitars played by Rick Nielsen made an impression all over the world. After this recording in Japan, and releasing an abridged 1-LP version of At Budokan, Cheap Trick became instant rock stars.

In 1998, the full Budokan show was finally released on CD, followed by a double vinyl release on Music On Vinyl in 2016. Both Cheap Trick fans and rock lovers in general will need this document of the band's most celebrated concert.

Cheap Trick At Budokan: The Complete Concert is available now as a limited edition of 3000 individually numbered copies on yellow vinyl and in packaged a gatefold sleeve.

Heaven Tonight is the third studio album by the American rock band Cheap Trick, originally released in 1978 and produced by Tom Werman. Building on the success of their earlier releases, the album further refined the band's signature blend of power pop, hard rock and melodic hooks.

The record features some of Cheap Trick's most recognizable songs, including the massively popular "Surrender" and the single "California Man", both of which helped establish the band's growing international reputation. A Platinum-certified release that enjoyed considerable international chart success, Heaven Tonight is considered one of the standout releases from Cheap Trick's classic late-1970s period and played an important role in shaping the sound that would make them one of the most successful rock acts of their era.

Heaven Tonight is available as a limited edition of 2000 individually numbered copies on violet vinyl and includes an insert with lyrics.

Art Blakey, whose career spanned nearly 50 years of Black music history, exemplifies the timeless role of the drums in jazz. This Album of the Year LP, originally released in 1981, features the Jazz Messengers: trumpeter Wynton Marsalis, saxophonists Robert Watson and Bill Pierce, pianist James Williams, and bassist Charles Fambrough, alongside drummer and bandleader Art Blakey.

The album was recorded in Paris, and tracks include “Cheryl” (written by Charlie Parker), “Soulful Mister Timmons,” and “Little Man,” among others. The accompanying liner notes were written by Ted Panken.

Purple Vinyl, limited to 200 copies. A Life Less Plagued, originally released in 2001, is a seminal release in modern hardcore by the California straight-edge band Carry On. Recorded at Godcity Studios by Converge's Kurt Ballou and clocking in at just under 20 minutes across 12 tracks, the album delivers unrelenting intensity, frantic tempos, and cathartic vocals. The album not only became a blueprint for the 2000s "West Coast Hardcore" movement, but was also the first proper full-length album put out by Bridge Nine Records. Carry On didn't live on much longer after their full-length album debut, but it became a definitive release for the label (and California hardcore) as each member went on to form the next wave of West Coast hardcore bands (such as Terror, Piece By Piece, Betrayed, Internal Affairs, and many more). Long out of print by the album's 10th anniversary, its legacy was further set in stone with a 2011 re-issue. Now Carry On is back playing a handful of shows over the 2026 summer and we've got another re-issue on deck. This is a record frequently cited by hardcore veterans and modern musicians as the absolute mold for 2000s American hardcore, so be sure to grab it if you don't have one in your collection yet.

Classic Me First And The Gimme Gimmes reissued: The Gimmes roll into town for a 12-song shootout with Country & Western. These Blue-State bandits are gonna show Kenny Chesney how it's really done. But now the demanding bunch are back, and this time, it's country that gets a kicking. More C&W-styled numbers are easy targets, be it the ever popular "(Ghost) Riders in the Sky," which here gallops straight into hardcore, "Desperado," which will never escape this incendiary melodic punk rock arrangement, and "On the Road Again," which is delivered up in a similar sizzling style. "Jolene," having already suffered the indignities of a goth make-over, is now manhandled by the Gimmes, who storm Dollyland with utter abandon and a barrage of guitars and battering drums, all the better to keep their man -- hmm, shades of Brokeback Mountain. "Annie's Song" is dragged off of John Denver's country roads, and dumped center stage in the middle of a rock concert, which is just where it belongs. Hank Williams' "I'm So Lonesome I Could Cry" gets even more inspired treatment, including a bagpipe! Even a seemingly straightforward punk do-over like "Goodbye Earl" provides some scintillating moments, from the Rancid meets the Clash styling to the bright harmonies and soaring lead guitar licks. The musicianship really shines through on this set, the guitars blaze, the bass becomes assaultive, and the rolling drums sound like the thunder of mortar in the distance, while the production is equally notable. But hey, the Gimmes can play country, too -- well almost -- the first half of "Much Too Young (To Feel This Damn Old)" boasts some fine fingerpickin' guitar, although the country styling keeps sliding into surf: hey, your roots are showing, guys. Now this is country music everyone can enjoy, gimme more! The 20th anniversary edition comes in a yellowish, more brown Mustard colored vinyl.

Great Television unfolds as a loose, emotionally driven narrative about navigating love, identity, and self-destruction against a backdrop of memory, movement, and Southern imagery. It begins with “Sunset Promenade,” where a deep, possibly lifelong bond offers comfort amid internal turmoil, establishing a desire for connection strong enough to withstand a restless mind. This sense of identity expands in “Girls of Atomic City,” where independence and womanhood are celebrated, though tinged with performance and uncertainty.

As the story progresses, songs like “Okeechobee Mud” introduce instability and intensity, portraying relationships that are passionate but corrosive, where love becomes inseparable from pain. “Thiokol Tripwire” honors the lives lost in the 1971 Thiokol Chemical Explosion and those affected in the south Georgia community of Woodbine. “Razorwire Wall” reinforces this devotion to chaotic love, suggesting loyalty even in destructive circumstances. A turning point arrives with “The Easy Kind,” where Cook reflects on attempts at self-repair, acknowledging her contradictions and rejecting simplicity in favor of a more fractured self-understanding. This awareness deepens in “Caldonia and The Love Convoy” and “In Your Veins,” where freedom blurs into recklessness and love takes on addictive qualities, revealing her complicity in cycles of harm. “19th Nervous Breakdown” provides crucial context, tracing her instability back to a turbulent upbringing marked by neglect and emotional disorder. “Feverfew,” leaves the narrative unresolved, as she recognizes her repeated attraction to destructive paths yet continues to follow them. In contrast, the closing track “Lightly” offers a rare glimpse of pure, protective sisterly love. Altogether, the album portrays a cyclical journey of longing, damage, and partial self-awareness, where clarity emerges but transformation remains uncertain.