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Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

Jonathan Kusuma is no stranger to club music. He has played, produced and re-edited multiple works. This is what he excels at. But on Dream Bot, he wants his audience to discover a more introspective side of his. Raised in Indonesia, where rhythms are abound, be it from a folk song sung in a ceremony, a machine in a soul-crushing factory or a Boombox on the back of a bicycle, Jonathan’s ears are destined for a career absorbed in rhythm and sound.

With 5 tracks of kaleidoscopic rhythms and introspective moods on Dream Bot, he is paying homage to his rich musical education and heritage. Layered percussive samples come to mind as well as the intricate interplay of gamelans and moody arpeggios. They both evoke their distinct mournful tunings. Dream Bot is a reminder of his roots and the beauty of the sounds on the Indonesian streets that have left many ears in awe.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

How We Function' is the debut album from London grunge trio BERRIES. Live shows and festival appearances in the UK planned for throughout the year to support the release, including 2000Trees and Kendal Calling; shows in Germany supporting The Subways in May and at Frank Turner's Lost Evenings V Festival in September. Plus support tour with Jim Bob from Carter in November and their own UK shows in October. RELEASE TIMELINE: TRACK 1 - 'Wall Of Noise' - 11th March 2022 - single Wall of Noise is the latest offering from BERRIES debut album due to be released in July. Lyrically the song gives a nod to self-doubt and how solitude can heighten and affect these feelings. Feeling lost or confused can produce the noisiest thoughts in your mind and that’s what BERRIES wanted to convey in this song. They push dynamics and layers to create the "noise" that so many people are often trying to escape in their own thoughts and the development of that "noise" throughout the song. TRACK 2 - 'We Are Machines' - 13th May 2022 - single + announce of album This single launches the album campaign for BERRIES' debut 'How We Function'. It is a song about struggling in a demanding society and being exploited by people who have little empathy or concern for your well-being. The song touches on how we are forced to become machines, trying to maintain an impossible level of perfection and how we need to fight against this. Admitting we are only human and finding the strength to stand up and push for balance and rights. In turn, becoming a different type of machine.

Yellow Vinyl

Following his late 2021 LP „Obi Thine Xi“, this extensive remix EP leads the last Rico Puestel album into its final conclusion, serving up substantial interpretations by Tom Wax, BOWMN and two further monikers from Rico Puestel himself! As if this wasn't enough, the highly anticipated, formerly unnamed and allegedly lost track „OTX“ is in on it too.

On the A-side, Tom Wax delivers his stronghold and contemporary Techno design of „ID“ while Rico Puestel hauls out the big analogue guns and „classical“ approach as „Modern Minimals Sound Research“ on the remix of „Voluptuous Antics Enter The Hemisphere“, reinterpreting his own work from another perspective.

Side AA brings you BOWMN with his forceful and psychedelic interpreation of „Modest“ before Rico Puestel comes in another time as „Tetzlaff“ and turns in the 80s-inspired earworm remix of „Thine“.

Last but not least, „OTX“ happens to be the concluding track of this record that people have been waiting and asking for since 2020 – finally delivered!

• Leon Thomas’ debut as a leader was this classic of spiritual jazz recorded for Bob Thiel’s Flying Dutchman label. Originally pressed in 1969, it features an all-star band including Pharoah Sanders (under the name Little Rock), Lonnie Liston Smith (piano), James Spaulding (alto sax), Cecil McBee (bass), Roy Haynes (drums) and Richard Landrum (bongos).

• “Spirits Known And Unknown” features versions of ‘The Creator Has A Master Plan (Peace)’, the classic ‘Song For My Father’, ‘One’, ‘Echoes’ and the topical ‘Damn Nam (Ain’t Goin’ To Vietnam)’. Subtitled New Vocal Frontiers upon release, the rear sleeve noted that “Thomas is searching as far into himself as he can go for spirits known and unknown and is creating new dimensions of vocal expressiveness to bring these spirits – these feelings – into the experience of others.” The fact that this album is hailed as a classic shows that he succeeded.

• Pressed on 180gm vinyl we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold-sleeve.

The Institute is happy to present a newcomer in its ranks: Lasha Chkhaidze, one of the 13 members of collective "If Strangers." Georgia is home to melancholia and many exciting musicians, something we have shown in many of our previous releases. Lasha’s first album is part of this theme.

These six tracks gently pull you into a subtle and immersive journey. Listen and soon you find yourself pulled into the beauty of sadness - surrounded by these carefully crafted soundscapes which offer a perfect opportunity for a moment of introspection. The young Georgian delivers ambient and piano at its finest on this first LP.

As the legend says, Agartha is a lost kingdom, located in the earth’s core.
Only the bravest found courage to go to the journey to find it.
As you go deeper, the road gets darker, scarier… The journey to Agartha symbolizes the journey to the untraveled parts of human consciousness, which often frightens us, but as we observe and heal our dark parts we no longer need to compress and hide them. Facing our main fears will make our road mor adventurous, and one day the whole journey will become a tale. Tale of a man who found the lost kingdom of Agartha.

Dance Gavin Dance lehnen langweilige Konzepte bei jedem ihrer Schritte ab und verschmelzen Progressive Rock und Post-Hardcore mit sattem Groove, wobei sie auf brillante Weise experimentelle Musik mit Hooks und einem schrägen Sinn für Humor kombinieren. Die Gruppe hat weltweit über 1,35 Milliarden Streams und allein in
den USA 1,2 Millionen verkaufte Alben erreicht. Mit Hunderttausenden von begeisterten Fans, die Dance Gavin Dance in den sozialen Netzwerken unterstützen, und ihrem eigenen Festival, dem Swanfest, dessen erste Austragung 2019 ausverkauft war und dessen triumphale Rückkehr für 2022 in der Heimatstadt der Band, Sacramento, im April dieses Jahres geplant ist, stellt sich die Band mit voller Kraft einem Mainstream, der sie zu lange übersehen hat. Dance Gavin Dance kündigen nun die Veröffentlichung ihres neuen Albums JACKPOT JUICER an, der Nachfolger von AFTERBURNER aus
dem Jahr 2020, das die US-Charts anführte und auf Platz
14 der Billboard Top 200 war.

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.

Kula Shaker's most inspired album in years, 1st Congregational Church Of Eternal Love and Free Hugs is a firebrand double-album, energised with an assured display of vehemence and songcraft that spills over with 15 blazing songs of cross-genre sonics and a renewed super confidence. The album will be available on double vinyl, CD and digital formats.

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







[g] 7. [flowers]

Being in a band is like being in a marriage: sometimes it’s magical, sometimes it’s unbearably challenging. To reinvigorate that marriage, Deap Vally have made their third album a genre-bending experiment with new collaborators and instrumentation that push the limits of what has previously defined the duo - Marriage is their musical Rumspringa, if you will. The album sees Julie and Lindsey break free of the rigid creative constraints within which they previously existed (two members, two instruments, two voices) and invite in collaborators such as KT Tunstall, Peaches, Jennie Vee and jennylee, as well as a range of producers including Allen Salmon, Josiah Mazzaschi and Harvey Mason Jr.

On a base level, the term ‘blood harmony’ is simple—it describes the specific sound two siblings make when they sing together. Given that Dave Hause has been writing and recording songs with his younger brother Tim for a while now, it made sense to use that phrase as the title for his fifth solo record. But this being a Dave Hause album also means there’s much more to it than that. Beneath the surface of Blood Harmony, in fact, are multiple layers of meaning relating to Hause’s role as a musician, a brother, a husband, a son and—having become a father to twins a few months before the release of 2019’s Kick—a dad. As such, Blood Harmony is a reassertion of what family means to him..

This 2001 album from the Brazilian death metal war machine Krisiun has never previously been available on vinyl, apart from a limited picture disc release back in the day.

Essential for fans of Celtic Frost, Vader, Obituary and S.O.D - Jungle Rot was founded in 1992 and remain a staple name in the Death metal genre. The band's moniker refers to Jungle rot, an infection of the skin that occurs in tropical climates. New album 'A Call to Arms' sees the first Unique Leader offering emerge with a punishing Dan Swano mix and eerie Voodoo themed artwork - a brutal culmination of the band's past sound melding with a slick, devastating polish bringing them firmly into 2022. A welcome addition to the iron clad ULR roster, JUNGLE ROT have decimated live stages worldwide with Deicide, Goatwhore, Cattle Decapitation, Krisiun, The Black Dahlia Murder, 25 Ta Life, Hate Eternal, Incantation, and Vital Remains, Six Feet Under, Suffocation, Obituary, Broken Hope and Decrepit Birth.

Following the release and subsequent year of our first album, "The Hearth," we began nurturing some new compositions for a second release. This process began similar to the first album, each of working us separately on songs, then bringing the bones, veins, and skin of a track to the rest of The Creux to fully animate. We were all taking off in a lot of directions, which tends to lend greatly to our dynamic sound once harnessed, and it was a good departure after playing "The Hearth" tracks live for two years straight during tours and festivals. We ended up with around 25 or so song frames and delighted that list down to about 12 to lay into. Then, the pandemic hit. We were all separated into our own bubbles, trying to make responsible choices on how to continue writing and recording this record promptly as we had just penned a deal with our new label Freakwave; with a target of releasing sometime in 2020. It was a pretty challenging endeavor for a band that typically relies on each member to bring greatness to the sound. We began experimenting with using virtual jam sessions and shipping files to each other. Luckily, we are all decent home sonic production creators so creating and flying around edits and changes over the months leading up to our time in the studio wasn't tricky. Around the end of Summer 2020, we finally had the demo tracks prepped enough to start working with our engineer and producer, Patrick Hills of Earthtone Studios. He worked with us on our last album and is sort of a special weapon of creativity for what we can pull off. We would send in one member at a time to lay down studio versions of the finals in a separate room from Mr. Hills; mask on, the whole nine. We would fly out the takes each day and make edits, rinse, and repeat. It was tedious and was pretty trippy to make a record in that manner. "Goodbye Divine" took almost a year to finish recording and mixing. So, here we are, in the Summer of 2021, and it is complete and ready for release this October. Expect both departures and arrivals of what you might have predicted following "The Hearth." Yet, this album does, in true Creux Lies fashion, offer a complete range of emotions throughout the album; prepare to find yourself ass shaken, and watery-eyed before you raise the needle on "Goodbye Divine."

With their emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker, TRAITRS formed during the summer of 2015 in Toronto, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter, F*cked Up, Japandroids, Dilly Dally), garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records, Manic Depression Records, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’, the duo embarked on a series of lengthy tours overseas, performed in over a dozen countries including showcases at Wave Gothik Treffen, Castle Party, Extramuralhas, Nocturnal Culture Night, Wavefest, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year, TRAITRS will release ‘The Sick, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19.

• Remastered for maximum fidelity.
• Features deluxe packaging, a fold out posted and a patch.
• Limited and individually numbered.

Fear Factory is an American Industrial Metal band formed in Los Angeles in 1990. Throughout their career they have released nine full-length albums with a tenth studio album coming in 2021. Soul Of A New Machine is the band’s debut album for Roadrunner Records, released on August 25, 1992.

AllMusic's Jason Birchmeier gave the album three stars out of five, remarking that "Fear Factory were quite ahead of their time in 1992". The critic also noted the diversity of the genres featured in the recording, saying that "Soul of a New Machine was so ground-breaking because it fused together some of the best aspects of numerous metal subgenres", which "[resulted] in a unique sound". Rock Hard rated the album highly, saying that the sound of the album was strange, indescribable yet required listening. Rock Hard also complimented the blending of various sub-genres, with particular note to Burton Bell for managing such an eclectic set of vocals.

Arguably among top ten best metal albums of 2015, no one member in Veil of Maya’s roster is overshadowed in this new direction. This time around, the entire band’s talent is showcased more evenly than in previous albums. Graduating from six string baritones to sevens and upping the ante with recently acquired vocalist Lukas Magyar, Veil of Maya’s Matriarch delivers a little less flash while still holding on to the thrashy-ness that fans have grown to love.

Though Magyar’s high screams, low growls, and clear vibrato are brought to the table on a glorious china plate encased in a catchy melody sandwich, the introduction of the first clean vocals since the band’s inception isn’t the most notable change from previous vocalist Brandon Butler, who left the band during Matriarch’s inception due to “creative differences.”

While Veil of Maya has always included little easter eggs in their track titles, such as the Game of Thrones headnod “Winter Is Coming Soon” from their 2012 album Eclipse, Martiarch goes further by being their first album to follow a female inspired theme. Guitarist Marc Okubo fit the album’s concept around strong female characters from different fictional genres. Limited vinyl version available on purple and baby blue vinyl with black splatter

Rejecting tired formulas at every step, Dance Gavin Dance merge progressive rock and post-hardcore with thick groove, brilliantly combining experimental music with hooks and a warped sense of humor. The group has amassed over 1.35 billion global streams, and 1.2 million album equivalent units sold across their catalog in the US alone.

The band will be releasing their tenth studio album Jackpot Juicer on 29 July, 2022.

One of the best-loved reggae singers of all time. Responsible for many perennial hits that have remained popular with fans since their recording in the late 1960s and early 70s, Slim Smith achieved a lasting influence that trumps the brevity of his vocation and the terribly tragic death that cut everything short. This retrospective includes tracks from Slim Smith & The Uniques period. The second disc collects plenty of examples of his solo career. read on / listen

Repressed , please note price increase! Would Like To Pose A Question is one of the first previously-unreleased funk and soul albums issued by Now-Again, and it still sounds amazing today. Well, it would have to: it's the brainchild of bandleader/drummer/singer/songwriter Lester Abrams (the L.A. in L.A. Carnival). Abrams helped create hit singles like "Minute by Minute" and “What A Fool Believes” for the Doobie Brothers and played with artists such as B.B. King, Stevie Wonder, Peabo Bryson, Manfred Mann, Quincy Jones and many more. Before all that - in early 70s while still in Omaha - he brought a multi-racial band into the Pacific Avenue studio to cut an album's worth of material. Only one single - "Color" b/w "Blink Man" - was ever issued, and this album sat on master tapes in Abrams' closet. That is until Now-Again’s Eothen Alapatt intervened in the early 2000s and Would You Like To Pose A Question was at last given a proper full length release.

"I was trying to find where I fit musically again. I wasn’t really sure if it was Americana or if it was Country or if it was Rock – I was all over the place with my songwriting and my career. Ironically enough, COVID really gave me a chance to just turn my brain off a little bit and stop thinking. When I came out on the other side I found not only a renewed sense of my music and wanting to get out and play again, but I found a renewed sense of self. I really felt I found who I wanted to be as a writer, as a singer, as an artist. I hate to just say Country music or more Country-oriented but that’s really what it came down to and the simplicity of it. I really wanted the simplicity of the songs to carry themselves and carry the album and lead us all the way through the live show; where the simplicity creates these big, massive sounding songs and that’s what I feel like we got from this record. I’m just trying to put my own personal spin on what I think is great about Country music. I’m not reinventing the wheel here, I’m writing about things that have been written about a million times; you just try to put your own spin on things and I really feel like that’s what this album’s strength is: it’s traditional Country roots but it has a vintage Wade Bowen feel to it lyrically and sonically." - Wade Bowen

“Follow Your Heart is all about resilience, connection and joy. How we reunite with our souls, our power, our love’s and our heart as we go through the greatest challenges our world has seen. I wanted to make a record that was uplifting and vulnerable. These songs have all been written during the pandemic, a time in which I lost my father to Covid, lost my job (as a touring musician), and leaned on my wife, family and friends and found a closeness with them that I never knew before. I laughed louder, played harder, cried deeper and danced with more freedom than I’ve ever felt during this crazy time - this music reflects it all. While I will never be grateful to the pandemic that has taken many friends and relatives from my life, I am deeply indebted for the time it has given me to reflect, re-connect with my calling and re-envision the musical soundscape of my life’s journey and find the light in a way that’s brighter than ever!!!” -- Michael Franti

Following the incredible reception to Deb Never’s most recent releases ‘Someone Else’ and ‘Sorry’ being championed by Radio 1s Annie Mac and Jack Saunders as ‘Tune Of The Week’ ‘First play’ & ‘First Wave’ stating that “Deb Never is a really special artist, someone with limitless sonic horizons and the most brilliant lyrical finesse! Deb Never has all the makings of stardom and her journey is truly under-way!”, along with continuous support from Matt Wilkinson and Zane Lowe Apple Music 1 shows, New York Times, Billboard, The Fader, Variety and Spotify’s continued love in both Pollen and LOREM adding to the playlist description ‘how are we supposed to focus when this Deb Never track exists’. In the lead up to her highly anticipated second EP, Deb Never teases us with another single ‘Disassociate’. The EP is due to drop this July, yet this is only an introduction to what is to come and to be an extremely exciting year ahead for Deb Never.

2010 release. Since their first show at Hollywood s Hotel Café in December 2008, soulsters Fitz & the Tantrums have toured with Maroon 5, played to thousands at Colorado's world famous Red Rocks Amphitheatre, shared the stage New Year's Eve with Sharon Jones and the Dap Kings, and performed on KCRW s esteemed show, Morning Becomes Eclectic. The recipe for success? Six killer musicians, five dapper suits, irresistible songs, one vintage organ and nonstop touring.

Repress of the 10 year anniversary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

ft. Leia Contois

Crosstown Rebels has remained at the forefront of contemporary dance music for nearly two decades. Championing both breakthrough artists as well as those well-established, the 15th of April will see this perfectly encapsulated as label-head Damian Lazarus, global-house duo Gorgon City and rising vocalist Leia Contois team up on Start Over, Crosstown’s biggest release of the year so far.

Tribal-like drum patterns get things underway on Start Over, as we’re soon graced with the enchanting vocals of Leia Contois. Mesmeric and moving, her delicate lyrical offerings complement the electronic sounds of Damian and Gorgon City, with the introduction of a driving lead bassline in the track’s second half helping to create a hard, club-ready edge. It feels emotive and geared for the dancefloor simultaneously, showcasing an innate chemistry between each artist.

Damian Lazarus: DJ, producer, Crosstown Rebels label-head and internationally recognised talent. His contributions to electronic music speak for themselves, from championing the likes of Jamie Jones and Seth Troxler in their early days, to running and operating multiple festivals in the form of Day Zero and Get Lost. From global headline tours to achieving several UK Top Ten singles, Gorgon City have become one the UK’s most successful electronic producers in recent years. Crossing over into mainstream popularity whilst remaining true to their underground roots, the boys have sold out venues the world over, with London club highlights including Printworks, Tobacco Dock and O2 Academy Brixton to name a few. US-native Leia Contois is an actress, model and vocalist. Her contributions on Start Over marks her maiden appearance on Crosstown Rebels, setting the tone for a highlight year ahead.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
This quintessential collector's vinyl edition includes Etta James' sensational
debut LP, At Last!, first released by the Chess Records subsidiary label Argo in
1960.
The original ten tracks from the album are akin to a greatest hits collection, with
signature gems like "At Last", "All I Could Do Was Cry", "Anything to Say You're
Mine", "I Just Want to Make Love to You", and "Sunday Kind of Love", among
others. In addition to this original masterpiece, 4 bonus tracks from the same
period are also included.

When he's not dishing out breaks-y garage and slick retro-future electro, Burnski still finds time to exercise his decades deep prowess in the art of tech house. On this new drop for Constant Sound he's clearly having a lot of fun sculpting a hefty, big room sound with Ibiza in its sights. 'Trigger' hinges around an epic breakdown-build up which goes off like a rocket when it drops, swinging with glee and leaning in on playful synth licks. 'Go' is an absolute monster too, which nods to Burnski's recent UKG explorations with some rough bass and a killer 4x4 groove. If you want to do some damage in the dance in the classiest of ways, look no further.

Belgian instrumentalists Glass Museum have found the perfect balance between piano and drums, where jazz and electronics collide, uniting the surgical precision of the best contemporary jazz, à la Gogo Penguin and Badbadnotgood, with the electronic influences of Jon Hopkins or Floating Points.

In motion since 2016, the duo consisting of keyboardist Antoine Flipo and drummer Martin Grégoire, have a rich history written around a powerful connection to duality. From the initial impact of the 'Deux' EP in 2018, to the synthetic and organic textures of the critically acclaimed 2020 album 'Reykjavik', Glass Museum has found its balance in symmetry.

Released 29th April via the groove-obsessed Sdban Ultra label, 'Reflet' was born out of a desire for freedom, a wish to innovate and travel differently. This new piece stands out as an artistic climax crafted at the crossroads of time and genres, an electronic proposition wrought by two brave hearts, tempered by the organic reflections delivered through computer free melodies. An album which places the human at the core of its compositions and in order to return to a more instinctive and instantaneous means of creation, the duo retreated to a secret location in one of the most remote parts of the Ardennes. It's there, in the shade of spruces, that the album was first born.

Extremely cinematographic, 'Reflet' delivers a panoramic view point: jazz, breakbeat, minimal techno and deep house, collide on neo classical grounds. From the dynamic instrumentation of album opener 'Caillebotis' to the absorbing oscillations of 'Shiitake' and grand gestures of the album title track, 'Reflet' is an odyssey running through troubled times, an ode to night time, to life, dreams and to all rhythms that convey emotions beyond words. Like its immersive creative process, the album offers a counterpoint and, above all, endless perspectives. Elsewhere, the pulsing, melodic 'Auburn' and entrancing electronic textures of 'Opal Sequences' continue the exploration before the strutting 'Kendama' showcases the electronic sensibilities that are buried within their productions.

Shining as a true instrumental tour de force, 'Reflet' also takes inspiration from the progress of the Ohme Collective. At the crossroads of art disciplines, science, new technologies and societal challenges, this creative community draws the future of visual arts and created the album artwork for this resolutely futuristic album.

Having initially won the opportunity to perform at the Dour Festival, Tournai back in 2016, Glass Museum have picked up a series of awards and distinctions back home in their homeland and they now find themselves dining at the top table of Europe's contemporary music scene. The international music scene opened itself to the band once again in 2019, with the duo performing at Elb Jazz in Hamburg, the legendary Ancienne Belgique in Brussels and the Iceland Airwaves Festival, Reykjavik.

In 2020, Glass Museum distinguished themselves by remixing a track for electronic artist, Rone. Having recently received a César Award for his soundtrack to the Jacques Audiard film, Les Olympiades, the French producer called on the Brussels duo's know-how - a mark of confidence which once again underlines the international reach of Glass Museum. Germany, Iceland, Turkey, Romania, Greece, France or Czech Republic have already approved Glass Museum's singular recipe.

Guymon Ensley is a renowned trumpeter from Los Angeles and with Bernard Gibson on lead vocals they have provided an uptempo jazz soul crossover gem. On the B Side we have chosen an instrumental version of the song which has never previously been released.

Welcome to the 3rd and final release from the Roz Ryan studio reel discovery from 1980. Produced by the mighty Mike Theodore and Dennis Coffey their production skills and arrangements never fail to deliver, and they always throw in a breakdown to keep it funky. Roz Ryan is a household name within the u.s and had some great success in the uk with her hit on Mirage records entitled "Boy where have you been".On the A side we have another killer 2 step song called 'Love Changes" which was also covered by O.C Smith. The sultry silky vocals from Ms Ryan never fail to disappoint. Flip it over for "Funky Way To Treat Me". A Theo Coff production that has all those funky disco elements associated with the duo's output of the late 70's.

Tape
Los Angeles native Sha Sha Kimbo undeniably lives for the rave. As exemplified through her every intentional move as a producer, DJ, promoter, radio host and label owner, Sha Sha radiates an unwavering love for amplifying, nurturing and supporting the culture of underground electronic music and the community that surrounds it, with her forthcoming release absolutely no exception to this.

Set for release as a digital download and limited edition cassette tape on August 13, the LA rave staple is happy to announce her debut EP on Evar Records, Total Chaos. A brilliant testament to the cathartic importance of staying up late and getting lost in a buzzing crowd of kindred spirits, Total Chaos harnesses the universal experience of having pent-up energy into massive, angst-ridden breakbeat anthems. Over six tracks, Sha Sha channels the hair-raising spirit of '90s rave along with her formative experiences with DMZ-via-Low End Theory dubstep and punk rock. Finding her place within LA's bass music, house, techno and rave scenes while defying easy categorization, Sha Sha personifies the no-rules electronic music ethos behind John Frusciante and Aura T-09's Evar Records. To supplement Total Chaos' three originals, LYZZA, Machine Girl and LCY provide three raw remixes highlighting various aspects of Sha Sha Kimbo's renegade rave spirit.

Drawing from the Los Angeles punk rock and '90s rave music that soundtracked her youth, Total Chaos personifies how she grew up on the dance floor, showcasing Sha Sha's tried and true ability to express rich, nuanced emotions through tracks that, first and foremost, can level a warehouse party. Kicking off the vibe on July 30, the EP's lead single "Save The World" is a perfect representation of this, with the jump-up rave cut employing a megaton breakbeat and sickly-sweet vocal samples over simmering base of dark, UK-influenced atmospherics. From the late night energy of the title track to the euphoric, dawn-breaking feel of "Limited Perfect," Total Chaos offers the refuge of a robust dance floor with the warm reassurance to be one with the universe.

Rounding out Total Chaos EP are three remixes that amicably and serendipitously support Sha Sha Kimbo's visionary aim to both explore the unknown and bring people together along the way. Brazilian-born, Amsterdam-based powerhouse LYZZA adds a full verse and a nest of serrated rhythms to her version of "Total Chaos," while New York's Machine Girl applies their trademark punk electronics approach to "Save The World." Meanwhile, Bristol's own LCY hollows out "Limited Perfect" into a haunting amalgam of post-punk minimalism and low-frequency pressure. A study of the opposing light and dark energies of underground dance music, Total Chaos presents a breakbeat-heavy vortex, sure to awaken everyone's inner raver.

Wah Wah 45s are proud to present the return of a unique collaboration between the U.K. 's very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for over a decade now, Medlar.

The pair first joined forces seven years ago, when Medlar was asked by Dele's label to remix the title track from his last album, You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were a perfect match.

Two years on from their first recorded output, the Full Moon EP - a record that received radio support from Gilles Peterson on BBC 6Music, as well as tastemakers and DJs across the globe, and was even featured on the latest edition of Grand Theft Auto -the duo return with the State Of Play EP. The heavy hitting four tracker features special guests Tamar Osborn of Collocutor fame, and South African rising star Zito Mowa, as well as a pair of Dele and Medlar's most popular jams from their live sets, perfectly baked for the dance floor.

Early support has come from Huey Morgan, Tom Ravenscroft and Deb Grant on BBC 6Music; Sarah Ward on Jazz FM; DJs on Resonance FM, Worldwide FM and many more besides.

The EP will be available on vinyl this summer with incredible artwork from our in-house art director Animisiewasz and eye-catching packaging.

If you live anywhere outside of Richmond Virginia you may have never heard of Sharpp. The group formed in the early 80s consisting of high school friends led by keyboard player Josh Fertel. They played cover songs mainly, performing around the fan, and at high school dances. With some gig money they managed to record two original titles at the defunct Harbor Sounds Studios. That would be their sole output, released locally on a 7” single, handed out to band members, friends and fam.

Emerging Netherlands-based pairing Parallells will land on Damian Lazarus’ Crosstown Rebels imprint for the first time next month. Gifting us an emotive offering in Ashes of Snow (The Rebirth Of The Phoenix), it acts as a tribute to their favourite Portuguese beach club, Yamba, which was tragically destroyed by a fire last year.

The title track hits a wonderful sweet spot between electronic elements and organic instrumentals. It feels raw and authentic, blending saxophone segments, electric guitar tones and a jazzy-like backbone to form a cut that feels ripe for both sunrise or sunset. On The Banks of The River comes next, manifesting as a more toughened dance music number thanks to deep bass components whilst still retaining the boys’ natural sound. Rounding off proceedings is Clive Henry, who’s remix of Ashes of Snow flies the flag for contemporary minimal. Weighty kicks reside next to delicate hats before ethereal synths are brought in, creating a romanian-inspired piece that you can’t help but dance to.

Parallells are two Amsterdam-based brothers hailing from the south of France. Multi-instrumentalists, composers, producers and label owners (Klassified), their music cuts across electronica, electro-jazz and underground dance music. Their live, hybrid and DJ sets have graced some of the world’s most esteemed stages, including DGTL, Robot Heart, Mayan Warrior, The Gardens of Babylon, Wonderfruit and many more besides. Their music is also heavily influenced by world culture, a feat that led them to launch their video series concept A Day In. Through this, they immerse in diverse cultures around the world, capturing sounds from their day-to-day life and unfold the story through the medium of music. Clive Henry is a linchpin of house music as we know it today. Cutting his teeth as one half of the tribal house duo Peace Division, he has held a long-term residency at Circoloco, Ibiza and has racked up bookings at standout venues and festivals including Printworks and Houghton to name a few.