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A wonderfully wild album - every bit as much as you'd guess from the cover - by a group that provided an early showcase for the talents of Raul Seixas and Sergio Sampaio - both artists who'd later have a big impact on Brazilian music in the 70s! The cover might look as trippy as a Tropicalia album, but these guys are maybe lightly looser overall - still with a talent for mixing together odd and offbeat elements, often with a nice degree of wit - but also groovy enough to make some of their songs swing nicely, with a very catchy vibe! The group also features the lovely Miriam Batucada and Edy -- who both get a chance to sing too - and titles include "Eta Vida", "Quero Ir", "Eu Acho Graca", "Sessao Das 10", "Dr Paxeco", "Finale", "Todo Mondo Esta Feliz", and a great version of the Antonio Carlos E Jocafi tune "Soul Tabaroa"

Originally released in 1981, La folie is the 6th studio album by English new wave band the Stranglers. Available for National Album Day on 1LP translucent pink vinyl for a limited run.

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

Originally released in 1981, La folie is the 6th studio album by English new wave band the Stranglers. Available for National Album Day on 1LP translucent pink vinyl for a limited run.

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

The debut album from Paris Paloma, 'Cacophony' follows (and includes) her breakthrough single 'labour'. Written around themes of feminine rage, societal expectations on women and deeply embedded misogyny, the album continues the deep consideration and dissection of Paris' own experiences and observations as a woman. 'labour', and subsequent singles including 'as good a reason', have seen her lyrics and music resonate deeply with an every growing fanbase. The 700+ fans at her sold out London show were termed a 'politely loving coven', capturing the sense of community and female energy which Paris inspires. Unheard tracks such as 'his land' are emotive and cinematic, while the gloriously climactic 'the last woman on earth' has become a fan favourite already via TikTok.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

Album packaging features 24pt reverse board jackets and illustrated inner board sleeves, with silver printed center labels. All artwork created by acclaimed designer, Håvard Gjelseth. Ol’ Burger Beats’s new opus, 74: Out of Time, is a multifaceted and stunning exploration of sounds and eras. In addition to every track being produced at 74 beats per minute, the album harks back to the year 1974; particularly the music, the records, the activism, the artwork, and the aesthetics. But it’s also incredibly current, as the Out of Time portion of the title very much refers to the present. It promotes a sense of urgency in the face of current affairs such as the COVID-19 pandemic, climate change, as well as contentious politics sweeping across the US and Europe. Beyond those deeply resonating elements to the record, 74: Out of Time is a truly gorgeous representation of hip-hop through the lens of the Norwegian composer, which is undoubtedly his most ambitious undertaking to date. Using 74bpm as his basis, he constructs sublime, jazzy instrumentals that feature some of hip-hop’s finest emcees and vocalists. And to say they all gel perfectly together is an understatement—and it would be underselling OBB’s meticulous approach here. Each song blends seamlessly from one to the next spread across the album’s 17 tracks, with the help from a standout supporting cast that includes Fly Anakin, Awon, Quelle Chris, Pink Siifu, Yungmorpheus, Lojii, billy woods, Tha God Fahim, Vic Spencer and Vuyo, among several others. “An avid record collector, the producer's first release was 2014's High Rhodes which led to comparisons to his heroes such as J Dilla, Madlib and Pete Rock.” Okayafrica // “With music teachers for parents, it was perhaps inevitable that Ole-Birger Neergård would follow their path and become a student of the game.” Passion of the Weiss

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Limited Gray Marble Vinyl. This vinyl edition includes two EPs, one on each side: 'By the Ash Tree' and 'Upstream Dream', originally recorded and released in 2020 and 2021 respectively. To connect these compositions, Matt Kidd (Slow Meadow) composed new segues/crossfades from song to song, allowing the pieces to be experienced in one cohesive and harmonious flow. From Marc Weidenbaum's 'Disquiet' review: "Slow Meadow's new album, 'By the Ash Tree', opens with cascades of delays and proceeds through three tracks of reflective piano". The title track of 'By the Ash Tree' is one of Slow Meadow's most popular and enduring compositions. 'Upstream Dream' was composed around the time of 2019's Happy Occident. Soft electronics, bearing otherworldly tones and, at times, a sense of playful mischief, subtly shift expectations and bring discovery and wonder at every turn. It bookends a period of creative output that introduced Kidd's vision of calming and meditative ambient music. With a foundation of piano, string orchestration, and an ever-evolving electronic palette, Slow Meadow traverses the borders of neoclassical and minimalist electronics and delivers a deeply personal and transportive experience that speaks directly to the ebbs and flows and mundanity and marvels of life.

Cantoma’s new album, “See In The Sun” feels like the welcome return of an old friend. This sensation perhaps reflecting the recording, which found Phil Mison working with a team of trusted talent. More than 20 singers, players and engineers were involved , including Quinn Lamont Luke , Luna Asteri, Robin Twelftree , Justin Drake , Andre Espeut, Robin Lee, Patrick `Dawes, Gizelle Smith and Audun Waage. Collectively they’ve created 10 tracks - joyful jams between accordion, flute, and kalimba, Reeds, orchestral strings, brass, bongos, and Spanish guitar.

The LP possesses fewer introspective moments than its predecessors. The music, on the whole, is moving its feet. Making its way toward a twilight dance floor. There’s also an emphasis on “proper” songs. Lyrics are sung, and spoken, in English, Spanish and Japanese. Their predominate themes are friendship, togetherness and love.

Unashamedly optimistic in its outlook, “See In The Sun” seems to wish only the very best for everyone. Phil says he never planned it that way, it just happened. Perhaps a consequence of all the friends gathered. However, this message comes at a point when the world is poised, hoping, more than ready for positive change.
Robert Harris - Ban Ban Ton Ton.

The brand new album "Pacific Voyage" by Nautilus from Tokyo is a breezy summertime soundtrack which combines sunny Yacht Rock with a touch of cool 80s City Pop.

The Japanese Jazzfusion trio reinterpretates stone cold classics from this era in their typical signature way of playing.

Songs like the heavy sampled "What You Won't Do For Love" by Bobby Caldwell and Toto's "Georgy Porgy" get a completely new coat of paint and fresh interpretation translated into now and tomorrow.
Followed by a who's who of tracks from Donald Fagen, Michael McDonald, Shuggie Otis, Nohelani Cypriano and Toshiki Kadomatsu to name a few.
Guest appearances on this album are from UK soul singer John Turrell (Smoove & Turrell), German rap legend Toni-L (Advanced Chemistry with Torch) and Japanese soul singer Ryuto Kasahara who worked with Grooveman Spot and DJ Mitsu The Beats so far.

Enjoy this pacific voyage.

Solomun & CASSIM remix two of the track rake from Radio Slave’s Venti album released earlier this year

Diynamic boss and Ibiza titan Solomun remixes Radio Slave ‘The Lunatics’ on Rekids, following the original’s inclusion in Matt Edwards’ acclaimed ‘Venti’ album in May. The original, a rework itself, reimagined the 1981 Fun Boy Three track ‘The Lunatics Have Taken Over The Asylum’, with Edwards’ ode to the band’s late lead vocalist and The Specials frontman Terry Hall winning support from Saoirse, Erol Alkan, Jennifer Cardini, Laurent Garnier, Paul Woolford, and Honey Dijon.
Solomun’s remix of ‘The Lunatics’ is sparkling aural nostalgia executed with total joy. Crisp 80s drums, Stranger Things-esque Jupiter 8 synth swells, the vocoded titular vocal, and a gloriously rich sliding bassline combine to drag the listener back to 1983 in the best possible way. As the track builds, rousing guitars join the ensemble, completing what is a hypnotic, melodic trip to the 80s via what’s set to be a 2024 anthem.

CASSIMM’s remix of Radio Slave vs Audion’s ‘Mouth To Mouth’ continues the story of Matthew Dear’s classic, which Radio Slave revived and reinvented as part of his 2024 LP, ‘Venti’.
Radio Slave’s hi-NRG disco cover of Audion’s minimal/maximal 2006 and era-defining anthem has dominated dancefloors since it emerged as a single in late 2023, with the likes of Erol Alkan, Job Jobse, Sean Johnston, Jennifer Cardini and Eats Everything continuing to play it today and the latter awarding it an Essential New Tune whilst sitting in for Pete Tong on BBC Radio 1.
Now, recent Rekids alum CASSIMM continues his huge run of form with a chunky, main-room house interpretation that shows just why his recent release, ‘House of Moves,’ won DJ support from the likes of Tong, Arielle Free, Paul Woolford, Honey Dijon, and Jennifer Loveless.
CASSIMS’s remix of Radio Slave vs Audion quickly follows Lindstrom and Solomun’s remixes of the ‘Venti’ LP’s tracks, which have seen support from the likes of Ivan Smagghe, Chloé Caillet, Nightmares On Wax, and more.

Suburban Base legend Mark XTC is back! Starting out at The Hacienda, and working in the mighty Eastern Bloc record store at the height of the rave scene, DJ XTC was on every major Rave flyer nationwide throughout the period. Going on to form Da Intalex with partner Marcus Intalex, releasing incredibly influential Drum & Bass during the earliest stages of its evolution. Mark XTC is currently a resident on Kool FM continuing to bring cutting edge music to a worldwide audience.

Collectors that have his Subbase releases Intalex Productions presents The X, and Ill Figure can now grab the next instalment! A four track EP of banging tunes celebrating the golden eras of Rave and Drum & Bass!

Genuine uncovered unreleased DATs from the period, Mark breaks down some info on these hidden gems!

'Unite' - Mark made this in the mid/ late 90s after working with vocalist Charmaine. Big distorted bass, 'Amen' drums and his trusty EMU sampler.

'To The Beginning' - Another late 90s creation, adding some P-Funk to the Amen drums with a Sub Bass filling the tune with heavy vibes.

'Oldskool Massive' - A more recently made dedication to the classic Belgium techno of early rave, with heavy 4/4, acid riffs and of course those distorted stabs and hoovers.

'Taking It Back' - Mark made this in 1998, and even then was taking you back to that classic 94 Jungle sound and loops.

Die größten internationalen Hits der 80er, 90er und 2000er Jahre in einer exklusiven Doppel-Vinyl-Kollektion! Entdecken Sie die wichtigsten Künstler, die ihre Jahrzehnte geprägt haben!

Honour's debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Alàáfíà is a meditation on themes of life, death and love that pulls inspiration from the unexpected poetic profundity of casual conversations, field recordings, literature, ephemera, or personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language_substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal. Alàáfíà delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit_a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song's dream-like quality developed out of the artist's grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface. "When Angels Speak of Love," borrows its title from two works by Sun Ra and bell hooks, respectively. Sculpting echoes of praise music into disorienting spirals perforated with syrupy DJ Screw-inspired breaks and sharp splinters of melancholic guitar, "When Angels Speak of Love" engages a conceptual dialogue with the spirits of both late thinkers, folding them into Honour's pantheon of ancestral guides. The album's ninth track, "Giz Aard ($uckets)," is a dirge of regimented drums which anchor this somber melody as it whirls into a blizzard of heartache, uncertain if its consequence will be death or eternal joy. The album's sole lyrical offering, "Pistol Poem (Lead Belly)," begins with a darkly humorous bar, "He went thru hell and back/ came back/ 2 get the strap," that swells into a haunting allegory based on the life of Philip "Hot Sauce" Champion. A modern take on the Blues, Honour's lyrics reify the artist's status as a student of both literature and popular culture, crossbreeding the artist's clever wordplay with additional references to Richard Pryor, Robert Johnson, Kelly Rowland & Bryon Gysin. Setting core principles of hip-hop, R&B, jazz and gospel music to atemporal soundscapes and compositions, Honour crafts a record that marinates in its own knotty contradictions. The ghosts that sit on the artist's shoulders have never been more tangible than with this emotive debut.

returning, dream’ is the second album from Paradise Cinema – the‘Fourth World’ inspired project led by multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves). While Wyllie’s other projects move between tightknit electronica, widescreen minimalism and improvised ambient sounds, ‘returning, dream’ contains nods to Jon Hassell, Terry Riley, Don Cherry and Midori Takada as well as more contemporary electronic, ambient and non-western music and even draws inspiration from physics and science fiction.

The first, eponymous, Paradise Cinema record, released in 2020, was recorded in Dakar (Wyllie lived in Senegal for a while in the late 2010s) and featured the dense rhythms of Mbalax music combining with Wyllie’s textural saxophone and synth playing, but here he takes a step into the unknown:

The music is no longer built primarily around the rumbling
propulsiveness of Mbalax, but takes its inspiration from the Many-Worlds Interpretation of quantum mechanics, which suggests that there are many different worlds that branch off from our own. Wyllie explains: “It is an imagining of what music could be like in a different time and space, ancient and futuristic from everywhere and nowhere at once. I was listening to a lot of physics podcasts when I created this record. I loved the many-worlds interpretation of quantum mechanics; about the multiple paths we are taking each time a quantum decision is taken. The different worlds then splitting off like branches on a tree. I could imagine different histories and worlds and multiple versions of myself, others and even other societies existing. In this album I’ve dug into these ideas andattempted to make music that would come from those different spaces, trying to poke my finger through to the other selves and stories. Effectively a form of composed science fiction, the music is an idea of what might be occurring or have occurred on a branch of the tree in a different world. But I like to think the tracks might actually have been composed somewhere or sometime.”

Created in London by Jack Wyllie with additional recordings from Dakar and Sydney, ‘returning, dream’ blends sounds that do not typically live together. It features Khadim Mbaye (sabar drums) and Tons Sambe (tama drums) who provide the dense Sengalese rhythms, plus Szun Waves colleague Laurence Pike, also on drums.

Iconoclastic Buddhist Línjì Yìxuán once remarked, "The miracle is not to walk on water. The miracle is to walk on earth." This profound statement serves as a reminder of the sheer beauty of our planet. We often take for granted the ground beneath our feet and the simple wonders that our ecosystem supports. Everyday activities like walking under a blue sky, feeling the breeze on our skin, or listening to a songbird's melody remind us that Earth is a precious host offering endless marvels.
"Breath," the latest album by Bordeaux-based producer Franck Zaragoza under his Ocoeur project, is a heart-felt tribute to these earthly wonders. This album, perhaps his most sincere and ambitious to date, comprises seven tracks that reflect Zaragoza's deep appreciation for the world around us. "Breath" is tranquil, peaceful, and meditative, yet its expansive, cinematic scope evokes vivid images of Earth's stunning landscapes. The album is both elegantly captivating and a poignant call for peace on our planet.
With "Breath," Zaragoza elevates his Ocoeur project to new heights, celebrating the marvels of the physical world around us.

"A Dream Is All We Know" lässt die auf Nylonsaiten basierenden Arrangements von "Everything Harmony" hinter sich und kehrt zu dem Stil zurück, den die Brüder erstmals auf "Do Hollywood" vorstellten. "A Dream Is All We Know" verbindet die Theatralik und den Glam-Rock des Lennon-McCartney-Songbuchs mit zeitgenössischen Erzählungen, explosiven E-Gitarren-Riffs sowie den sonnigen Harmonien und ausgeklügelten Aufnahmetechniken der Wilson-Familie und bringt die Liebe zum Detail und die Fähigkeiten der Brüder als Multiinstrumentalisten zum Vorschein. Mit fast einem Jahrzehnt an Songwriting auf dem Buckel zeigt "A Dream Is All We Know" deutlich die Entwicklung der D'Addario-Brüder von rehäugigen Teenagern, die Musik machen wollten, die an ihre Helden erinnert, zu jungen Männern, die die Bühne mit PHOENIX, BLEACHERS, ARCTIC MONKEYS und ihrem musikalischen Helden TODD RUNDGREN teilten, von ELTON JOHN, THE ZOMBIES, GERARD WAY und IGGY POP gelobt wurden und sich zu visionären Songwritern und Arrangeuren entwickelten, deren Werk selbst eine Quelle der Inspiration für andere Künstler ist. "A Dream Is All We Know" wurde komplett mit historischem Equipment aufgenommen und von Brian und Michael selbst abgemischt und gemastert. Das Album zeigt THE LEMON TWIGS, wie sie nach Jahren der Perfektionierung ihres Handwerks mit einem neu entdeckten Sinn für Intuition spielen.

Blue Glitter Vinyl. One Step Closer has always believed that hardcore is limitless. On All You Embrace, the band puts that theory into practice. Every release from the Wilkes-Barre, Pennsylvania band has seen them exploring the sonic overlaps of hardcore, emo, and '90s alternative rock without an iota of self-consciousness, or pretension, creeping into the mix. All You Embrace is a collection of 11 songs that show One Step Closer reaching for something deeply honest and, as always, authentic."I wanted to showcase One Step Closer in its fullest state," says vocalist Ryan Savitski. "Every single part of the band, I wanted it to be there. I wanted us to be 100% ourselves and be as authentic to our band as we could possibly be." For fans of their first EP From Me To You, there are songs like "Blur My Memory," which show the passionate melodic hardcore the band built its name on is still part of the program. But it's immediately followed by "The Gate," a song that taps into the expansive reaches the band hinted at on This Place You Know and put on full display with the powerful follow-up EP, Songs For The Willow. Every element of One Step Closer is on display throughout the record, as they expound upon every idea until each one has achieved its full potential. The result is a record that's bigger, catchier, and moodier than anything they've done before, while still feeling exactly like OSC.Taken in full, All You Embrace is the sound of One Step Closer honoring their past while building a future that looks more open, more creative, and more expansive. It's a place where records like Start Today, Diary, and Floral Green are all in conversation with one another. Even the album's cover art marks a new direction for the band - the dizzying, frigid blur of blues & blacks colliding is a painting of guitarist Ross Thompson spinning in place, evoking how it feels to listen to these eleven tracks about change, grief, anger and the growing up. One Step Closer feels like the next in a line of revered bands coming from the crescent-shaped depression of Wilkes-Barre - and All You Embrace is the perfect introduction to the most exciting version of the band to date.