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2x 180g grey vinyl repress!

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

Dom Salvador, the unassuming godfather of Brazilian soul music, has left an indelible mark through his unique fusion of jazz, soul, funk, samba, and Brazilian rhythms. His legacy continues with Dom Salvador JID024, produced by Adrian Younge and Ali Shaheed Muhammad. The album honors Salvador’s pioneering sound, continuing the vibrant dialogue between Brazilian and American music and inviting listeners to experience his rich, groundbreaking style.

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

The borderless, tropical band “of Tropique,” whose core sound blends funk and rock-infused exotica, releases a 12-track full-length album on vinyl LP!!
This work maximizes their core lineup as a guitar-less trio, featuring a diverse array of 14 guest musicians to construct a rich sonic landscape.
This landmark release in the history of domestic exotica and tropical music features Mutsumi Kobayashi of the Minyo Crusaders, Rockin' Enocky of Jackie
& The Cedrics, to global talents like Joshua Camp of CHICHA LIBRE and MIRAMAR, the standard-bearer of US new wave Latin bands, and more!
It's a masterpiece that delivers the full thrill, excitement, and pleasure of encountering unknown music.

Red and Black Galaxy Vinyl. Kmoe is a young Canadian artist who emerged from the 2021 SoundCloud/Discord scene. Kmoe blends hyperpop and glitchy production with catchy indie-pop melodies and pitched up vocals. His sound is characterized as a "modern-day romantic" take on electronic music, heavily influenced by shoegaze, hip hop and experimental pop.

Robert Johnson was an American blues musician whose 1936 and 1937 recordings heavily influenced many, many future generations of artists. Despite the fact his recording career spanned a mere seven months, he is universally recognized as a master of the Delta blues style, one of the earliest-known styles of blues emerging from the Mississippi delta in the early twentieth century.

This second compilation of the King of the Delta Blues collects sixteen recordings previously available on the 78 rpm format and includes recordings of two Johnson songs that have since become blues standards: "Sweet Home Chicago" and "I Believe I'll Dust My Broom." In contrast to the deeply emotive songs released on the 1961 album, many of the tracks on this volume display Johnson's lighter side. In 2003 the record was ranked #424 on Rolling Stone's list of 500 Greatest Albums of All Time.

Whether he really needed to sell his soul to the devil at the crossroads to reach these great heights, we'll never know...

King Of The Delta Blues Singers, Vol.2 is available as a limited edition of 1000 individually numbered copies on yellow vinyl and includes an insert with liner notes by Pete Welding.

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

14 sorgfältig ausgewählte, atemberaubende, dämonische Tracks aus den legendären Demo Sessions Vol. 1 bis 7 der Meister des modernen Psychedelic Rock. Ein fuzziger Best Of-Tauchgang in die wilden Archive der australischen Psych-Meister und ein faszinierender Einblick in ihren mitreißenden kreativen Prozess. Enthält einige essentielle Tracks aus ihrem Repertoire, präsentiert in frühen Stadien, oder als Instrumentalversionen oder in alternativer psychedelischer Leckerbissen für die stetig wachsende Fangemeinde dieser Heavy-Psych-Freak-Out-Truppe. Mit Insert und exklusivem Psych-Artwork. Ermöglicht im Rahmen King Gizzard Official Bootleg Initiative. Unverzichtbar für Fans von knalligem, überdehtem, modernem Psychedelic Rock'n'Roll.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Captain Asshole, ein Name, der leicht im Gedächtnis bleibt. Aber zum Glück sind die Songs besser als der Bandname der Münchener vermuten lässt. Punkrock mit melodischen Gitarren und vielen Mitsing-Momenten, deutlich inspiriert von Bands wie The Copyrights, Dear Landlord und Latterman.

Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning Avant-Folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence.

Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning Avant-Folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence.