Pop & Rock Vinyl New Releases - News

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

In February 2017, Midnight Oil announced The Great Circle World Tour from the Sydney Harbour. The tour was the band’s first in over 15 years, commenced in Sydney, travelled to 16 countries, completed 76 performances in six months and concluded at The Domain in November 2017. The performance of their final show at the Domain was recorded and now available on 3 LPs. They performed both their gigantic solo hits, such as “Beds Are Burning” and “Blue Sky Mine”, as fan favourites like “Read About It” and “Only the Strong”. It’s a fantastic live experience full of energy and with much attention to their often political subjects. Armistice Day: Live At The Domain, Sydney showcases Midnight Oil at their absolute finest.

This release is available as a limited edition of 2000 individually numbered copies on transparent red vinyl and the package includes an extensive 12-page booklet.

After nearly 20 years since their last longform release, Midnight Oli return with a seven song mini album. Available as a 7 track CD and a limited pressing opaque yellow vinyl. 'The Makarrata Project' is a mini album on which all of the songs share a strong focus on indigenous reconciliation, and each features collaborations with the band’s First Nations friends. The first single “Gadigal Land” was released on August 7th and features special contributions by vocalists Kaleena Briggs, Bunna Lawrie and Dan Sultan. The album seeks to raise awareness of the Uluru Statement.

Midnight Oils Kultalbum "Diesel and Dust" ist zurück und jetzt erstmals seit Jahren wieder auf Vinyl außerhalb Australiens erhältlich!
Neu gemastert, auf schwarzem Biovinyl und nachhaltig verpackt, bringt das Album seine kraftvolle Botschaft über soziale Gerechtigkeit und Umwelt neu zum Klingen.Ein Meilenstein der Rockgeschichte, ausgezeichnet von Rolling Stone und als bestes australisches Album gelistet.

Signing with FatCat Records in 2022, and having released four singles to date, Nottingham-based Midnight Rodeo have now delivered their debut album, “Chaos Era”.

Extensive, relentless touring (sold-out hometown shows,The Great Escape, Dot To Dot, and Kendall Calling) created a tight-knit family, their pleasure in playing as an ensemble is instantly evident on the album. When asked about this they’ll explain, “We want people to tap into why we are always smiling on stage.”

The songs are collaborative efforts. Their different musical backgrounds result in a genre criss-crossing and totally unique creative collisions. Bassist Harry says, “What we do is Dada-istic. The drums play hooks, the bass plays parts usually taken by brass, the guitar’s playing West Coast psyche over disco rhythms.”

Written over a prolonged period of time, the songs on the album can be viewed as a kind of coming-of-age “suite”, as the unit of 20-somethings wrestle with subjects such as relationships, shifting social dynamics, changing hopes and dreams. The LP’s title refers to tumultuous personal events they’ve helped each other through. Reinforcing their bonding. With no pointed political agenda, the album is about “escape”. “We want people to dance”, they say.

The band recorded the album with Samana’s Franklin Mockett. Making full use of the acclaimed duo’s residential studio, located deep in the Welsh countryside, during an Indian summer heatwave. The aim was to remove all distractions, and, with Mockett’s assistance, capture the group as live, and as analogue, as possible. For 10 days, in sometimes 16 hour sessions, music, incense, and whiskey flowed, while vintage amp valves glowed.

Just like the band’s live performances, “Chaos Era” is packed with a palpable joy. The exhilaration of creation in each others company. Its punchy production is most definitely meant to be played loud.

For Fans of Have a Nice Life, Planning For Burial, Grouper, Jessica Bailiff. As Midwife, Denver-based multi-instrumentalist Madeline Johnston plays what she describes as “heaven metal,” or emotive music about devastation. Johnston began developing the experimental pop project in 2015 while a resident of beloved Denver DIY space Rhinoceropolis. The venue / co-op started in the early aughts and nurtured local artists until 2016, when its doors were shuttered due to high tensions surrounding the safety of DIY spaces (not coincidentally following the horrific Ghost Ship fire in Oakland). Residents were displaced around Denver and artists like Midwife were forced to start over. However, it was at Rhinoceropolis that Johnston became close with Colin Ward, an artistic confidant and friend to whom her new album, Forever, is dedicated. Johnston comments, “He was my roommate and was the embodiment of that place Rhinoceropolis in a lot of ways. We became really close friends there. I was always learning so much from him, about life and being an artist. He was an amazing teacher and friend to me.” When Ward passed away unexpectedly in 2018, she turned towards sound to express the indescribable feelings that partnered with her grief. These mournful sounds ultimately developed into her new album, Forever. The six-song LP is a latticework of soft focus guitars and precise melodies—anthems of light piercing through gray clouds of drone. On the track “C.R.F.W.,” we hear Colin Ward reading a poem that speaks of a leaf falling from a tree in autumn: “imagine the way a breeze feels against your leaf body while you finally don’t have to hold on anymore.” Johnston responds with slowly radiating tones, branches stretching out to hold the leaf one last time. “I wanted to write him a letter. I wanted to make something for him in his memory.” “Did you ever hear a record that’s so inspiring you had to write a song? That’s what happened to me on hearing the brilliant new album by Midwife.

"Ouin Ouin" is the third album by Miel de Montagne. See you soon on tour throughout Europe (England, Netherlands, Spain, Belgium...)

“Arde” is the creative peak of the Madrid-based experimental collective: 14 cinematic, hypnotic, and emotionally devastating songs that masterfully blend post-rock atmospheres, alt-folk introspection, traditional Spanish elements, and complex, often cathartic arrangements.
The album's UK connection is through Stuart David (Looper, Belle & Sebastian), who championed the band to Sub Pop, leading to their international breakthrough. On Metacritic, it holds a 77/100 score based on 6 reviews, with AllMusic praising its "spectacular balance of beauty and tension”. CMJ New Music Monthly highlighted it as "one of the brightest artistic lights in the diverse Iberian indie-pop scene".
Pitchfork awarded it a 9.3/10 in 2001—the highest score for any Spanish artist to date—describing it as “nothing short of elemental in its beauty”. The album also succeeded in France (PopLane, 2001), with strong coverage in Les Inrockuptibles, Magic!, Le Monde, and Libération. Migala shared stages with key acts like Smog (Bill Callahan), Mark Kozelek (Red House Painters), The Magnetic Fields, Damon & Naomi, and served as Will Oldham’s (Bonnie “Prince” Billy/Palace) backing band during his Spanish tour in 1998.
This new edition has been painstakingly remastered from the original Cubase projects (summer/fall 2000). Every track was exported individually and given a fresh, zero-compromise mastering. The result is a significantly clearer, more open, defined, and powerful sound — especially in the rhythmic foundation — while fully preserving the warm, organic lo-fi character of the original. An absolute must-have for indie, post-rock, alt-folk, and collector sections — a genuine classic that belongs in every serious record store and deserves rediscovery.

Zwei Tage vor den geplanten Aufnahmen zum Debüt-Album von MIGHT stand die Welt plötzlich still. Das Ehepaar Ana Muhi (Bass, Gesang) und Sven Missullis (Gitarre, Gesang, Schlagzeug) zieht sich im März 2020 ins bandeigene Studio zurück und nimmt unter Bedingungen und Möglichkeiten der extremen Konzentration eine Platte auf, die Wechselwirkungen aus Geborgenheit und Unbehagen, aus Wut, Verzweiflung und Hoffnung perfekt intoniert. Während die Welt über 'Flatten The Curve' diskutiert, formulieren MIGHT ihre eigene Kurve aus emotionalen Interferenzen und Verstärkungen und erschaffen ein Album, dessen ätherische Intensität wie ein Soundtrack zum dystopischen Zustand der Welt wirkt: Zwischen instrumentaler Raserei und sanft-zerbrechlichen Akustik-Parts findet ein Austausch statt, der musikalisch verschiedene Genres zusammenbringt: Black Metal, Sludge, Doom, PostRock, Shoegaze. Laut und Leise in perfekter Ergänzung, die Kraft der Liebe als Antwort auf Fragen nach Tod und Leben fragmentarisch in den Lyrics verarbeitet. MIGHT sind: Ana Muhi (Bass, Gesang) und Sven Missullis (Gitarre, Gesang, Schlagzeug) und kommen aus Hannover. Für Fans von: Chelsea Wolfe, Emma Ruth Rundle, Jarboe, Dolch, Treedeon, Neurosis, Ides Of Gemini, Black Mare

"Five years since her debut album Delivery, Mikaela Davis has moved away from her hometown of Rochester, shared the stage with the likes of Bob Weir, Phil Lesh, Christian McBride, Bon Iver, Lake Street Dive and Circles Around the Sun and entered a new decade. But it’s the ever-evolving relationships between her closest friends and bandmates that has propelled the Hudson Valley-based artist onto her latest album And Southern Star––a truly collaborative effort that ruminates on the choices we make, and the people we always come back to.

The band, made up of Davis (harp/vocals), Alex Coté (drums), Cian McCarthy (guitars/vocals), Shane McCarthy (bass/vocals) and Kurt Johnson (steel guitar), have been playing together for over a decade and it’s the first time they’ve appeared on a full length record together. Weaving 60s pop-soaked melodies, psychedelia and driving folk rock, And Southern Star picks apart the reflection we used to recognise, while trying to build a new one. It navigates the periphery of past selves, the coexistence of isolation and excitement in a new environment and the tension of growing away from what we thought we wanted, tackling it with a luscious, kaleidoscopic grace. “I finally feel like this album is more me than anything else that’s been released,” Davis says, adding that producing the album along with her four bandmates allowed them to carve out their own ideas, rather than someone else’s. It’s the band’s collective step into adulthood that has informed much of And Southern Star’s thematic landscape."

Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

10th Year Anniversary Reissue on Silver Colored Vinyl, Deluxe mirror board jacket, includes CD insert of Oscillate Wisely (2021), with expanded liner notes by Eric Harvey. Bonus Video + Audio of Live recordings included in Digital Download. Recommended If You Like: Pedro The Lion, The Sea and Cake, David Bazan, Major Murphy, Kurt Vonnegut & Guided by Voices. For ten years now, I’ve understood “Oscillate Wisely” as a play on the Smiths’ instrumental “Oscillate Wildly”--itself, of course, a pun on Morrissey’s muse, Oscar Wilde. This is not to say that anything about Mike Adams and his band reminds me of the Smiths (especially­Morrissey), as much as the idea that rock bands like Mike Adams At His Honest Weight take shape more or less as a thesaurus of past ideas--winking at them, borrowing them like a library book, checking them out from across the room, cloning them. But the best stuff is more ineffable, far more than just cut-and-paste. There’s a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don’t hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny (“funny”), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut. He doesn’t want to believe in anything, he didn’t create this body, he­loves­a parade.­ It’s all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when “college rock” entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony.­And­Oscillate Wisely­has demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll's­lingua franca­as hang-ups and chill hangs. I’ve never heard any musician summon everything I love about being from Indiana so perfectly. And I’m­fucking­old. Eric Harvey.

In the late 90s, the bands that Mike Badger had been part of vanished in the rear-view mirror. The La’s and The Onset were no more. With a young family and his tin-can sculptures emerging as his primary source of income, the evenings in Allerton (south Liverpool) found him quietly strumming his acoustic guitar, careful not to disturb the sleeping children. Weekends often led to the Penny Lane Wine Bar and later to Henry Epstein’s residence, a haven for revelry after closing time. A place where acoustic guitars adorned the walls, and impromptu musical sessions unfolded. In the midnight hours at Henry Epstein’s house, Paul Hemmings conceived the idea of compiling an album featuring Mike’s new tunes, which seemed to carry a basic “pastoral” theme reflective of settled domestic life. Demos were recorded on a porta-studio, and the album, initially titled “Naked and Beyond,” was crafted with starkness and simplicity, adorned with selected embellishments contributed by associates who shared drinks and stages. Recording took place at “The Lab” studio just north of the city, utilizing a Teac 24 Track machine and the warmth of analogue recording. The studio featured an old Italian “Eko” acoustic guitar, a classical guitar, Louis Johnson’s cello arrangements, and Tommy Scott’s backing vocals. Once the core of the album was laid down, the journey continued to Anglesey, to Henry Priestman’s “Gossamer Dome” Studio, where a baby grand piano, Farfisa organ, and “Parrot” accordion were added to enrich the songs with colors, harmonies, and magic, all against the backdrop of a sea view. The front cover of the album was adorned with an objet d’art created from a spiraled frying implement, part of Mike Badger’s “Lost and Found” exhibition. As the need to release the album arose, Mike Badger and his collaborators established their own label, “Viper,” and secured a distributor. The album, titled “Volume,” reflected its creation – from its initial sound considerations to the organic body of work composed in recent years. The recording process, though thorough, embraced imperfections, as Mike Badger believed that completeness emerged from these flaws, giving the performance its distinct character. The spirit of the performance took precedence over perfection, resulting in a product that felt genuine, unfettered, and honest – created simply because it was meant to be made. Now the album turns 25 it is released on vinyl for the first time via Nine X Nine Records.

Mike Mooney presents his debut solo album The Cthulu Mythos via Nine X Nine Records. Mike Mooney has had a storied career in the music business, over the years he has had stints in Echo & The Bunnymen, The Psychedellic Furs, Spiritualized and The Wild Swans to name a few. Reknowned for his incendiary guitar work and distinctive style it seems incredible that only now are we seeing a solo debut proper. This record is inspired by the work of American authour and the godfather of the cosmic-horror genre H.P. Lovecraft. Mooney had long been a fan of Lovecraft’s work but through rereading much of his work during the coronavirus lockdown an idea for an album was planted. Using the titles of Lovecraft’s work as a springboard, Mike started recording. The songs came easily, almost as if being channeled via a conduit from some unknowable dimension of Old Gods and unspeakable horrors. The Cthulu Mythos is a larger-than-life, rock n’ roll affair. Purposefully distorted guitars are layered to a create a caucophonous effect that immerses you in Mike Mooney’s world populated by the creatures, characters and cosmic forces of H.P. Lovecraft’s mind.

Mike Viola is a producer, musician, songwriter and singer. Viola may be best known for his work with Panic! at the Disco, Andrew Bird, Ryan Adams, Jenny Lewis and Mandy Moore, but his solo career stands on its own starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 7 critically adored Mike Viola records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Decades into his career his music continues to resonate with and inspire new generations of musicians and music lovers. Viola is cranking out more music than ever including the fan favorites; “The American Egypt” from 2019 and “Godmuffin” from 2021. Paul McCarthy was recorded over the summer of 2022 on 1/2” tape at “Barebones”, Viola’s home studio in Los Angeles. Joined by his friends Jake Sinclair on bass and Brendon Urie on drums. Viola says, “I set out to make a sonic monster using the legs of James Gang Rides Again, the heart of Black Sabbath Paranoid, with my kid brain inside my greying middle aged head on top. I’ve hit a point in my life where instinct has taken the reins fully, logic now waits in the wings to sweep up the stage and pay the taxi fare home. This album is the result of committing to this path fully and laughing all the way.” Viola will support the album release with his first tour in over a decade with dates in Europe and the US in Winter/Spring 2023, and more dates to follow later in 2023.

Esteemed US musician Mike Viola is bringing his new album Rock Of Boston to our shores with a handful of shows in November, forming a special pick-up band with members of The Zutons and The La’s for the tour. Mike Viola is a producer, musician, songwriter and singer best known for his work with Panic! at the Disco, Andrew Bird, Dawes, Ryan Adams and Jenny Lewis. However his solo career stands on its own, starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 8 critically adored solo records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Rock Of Boston was recorded over the winter of 2023 on 8 track ½” tape at Barebones, Viola’s home studio in Los Angeles. Once again joined by his friends Jake Sinclair (Weezer, Sia, Panic! at the Disco) on bass and Brendon Urie (Panic! At The Disco) on drums. For UK shows Mike has roped in Sean Payne (The Zutons) and Jay Lewis (The La's, Cast) to join Jake Sinclair and himself on the road. Viola says, “I’m always writing songs, or pieces of songs, or riffs. My writing process changes every song, so I never get trapped in a method. I let the song lead me. While I was on a world tour playing guitar for Panic at The Disco, I wrote the bulk of this record on the bus between soundcheck and showtime. On the days off, I’d find a recording studio wherever we were and I’d book studio time to sneak away to lay down a few ideas. When the tour finished, Jake and Brendon came home to LA and we never stopped playing music together. We just switched from touring with Panic! to recording Rock Of Boston pretty seamlessly without a break. Maybe that’s why the riffs seem bigger on this record, we had spent all those months in hockey arenas around the world playing big music.”

The album is a very eccentric ride, from one feeling and world to the opposite, reflecting a life spent thirsting for experience, discovery, and a little chaos. It is my hope that through sharing my “life on earth” with others, they will get the inspiration to walk their own path, reflect on the Truths they uncover, and enjoy the trip of it all.. The album was produced by Mikey Mike and Dave Cobb.

Textures and sounds spanning from the virtues of 90’s grunge/alt-rock to renaissance-like melodies bound together with the opposites pop-music structures sliced with contemporary collage techniques. On Mija Milovic’ second solo album “Still Life” (Escho), there is easily no conformity to constraints of simple boxes, instead it focuses on emoting with intonation, stress, rhythm and pace. It's about tender and aggressive transformations, figuring out who you are and how to be in the world. The lyrics tell lived stories of locating magic in the mundane, being swept away by the energy of fellow humans and holding space for each other in a community, feeling estranged in the urban landscape, and learning to let go. Mija Milovic is a Danish/Montenegrin musician, composer and producer based in Copenhagen. She has a background in theatre, performance, alternative notation and improvisational music creation. With several release under her own name she is also member of the rock band SLIM0 and is a part of various other collaborative.

Die aufstrebende australische R&B-Musikerin, Produzentin und gefeierte Newcomerin Milan Ring flirtet auf ihrem zweiten Album 'Mangos' genreübergreifend von Alt-Pop bis Funk und bleibt dabei gleichzeitig ihren R&B-Wurzeln treu. Milan Ring gilt in Australien seit langem als Vorreiterin der Renaissance der heimischen R&B-Szene und hat bereits mit Künstlern wie Questlove (The Roots), The Avalanches und Sampa The Great zusammengearbeitet.

Erste Auflage des Debütalbums der neuseeländischen Dream-Pop/Indie-Rock-Band Mild Orange auf schwarzem Vinyl. Das 2018 im Eigenvertrieb erschienene "Foreplay" wurde mit seinen Singles "Some Feeling" und "Mysight" schnell zum Achtungserfolg und erreichte über 100 Millionen Streams bis heute. Die neue Auflage erscheint in limitierter Stückzahl pünktlich zu ihrer Herbsttour durch Europa.

The Cornish improv noise / post-rock / shoegaze band’s cult classic debut, remastered and re-edited by Slowdive’s Simon Scott and available on vinyl for the first time since its release back in 2017, with original copies (released via The Weird Beard) now changing hands for triple figures. The three tracks that make up the album were recorded live, in one take. They are presented as captured snippets of the one song the band used to play, the continually existing and evolving ‘CPA’ (Cosmic Pink Alignment). It formed the blueprint for their unique mix of Sonic Youth squall and Slowdive-style beauty, which was later heard on 2021’s acclaimed debut for Sonic Cathedral, Sleepover. “People have told us they aren’t able to get a copy of the album, so a reissue was a good opportunity for us to re-look at it having learnt a bit more about the mastering process when we did Sleepover,” says guitarist Matt Ashdown. “Simon also mastered that, so we really trusted him and didn’t give him a brief – he knows we like to squeeze out as much low end as possible, which is why there is also a new cut; more low end means less space on the vinyl.” Simon’s magic touch has really elevated this stunning record, making it sound bigger, bolder and better than ever

Nach zwei Soloalben und ausverkauften Headliner-Tourneen veröffentlicht MYLES KENNEDY (Alter Bridge, Slash ft. Myles Kennedy & The
Conspirators) sein neues Album The Art of Letting Go am 11. Oktober 2024 über Napalm Records. Auf seinem dritten Geniestreich als Solokünstler
beweist Kennedy, der von KERRANG! UK zu Recht als „einer der besten Rock-Sänger“ betitelt wird, erneut sein herausragendes musikalisches
Feingefühl, wobei er sich ganz von seiner Intuition hat leiten lassen. The Art of Letting Go ist der Nachfolger des weltweit gefeierten The Ides of
March (2021), das vier #1 Platzierungen verbuchen konnte (US Top Current Hard Music Charts, UK Official Rock & Metal Charts sowie Official
Independent Album Charts und Kanadas Hard Music Albums Charts). Das Album wurde von Kritikern hoch gelobt und millionenfach gestreamt. Das
RIFF-Magazine beschrieb es als „eine fantastische Platte, die man sich unbedingt anhören muss", während das Classic Rock Magazin überzeugt ist:
„The Ides of March bestätigt Myles Kennedy als musikalisches Kraftpaket."

Exactly 15 years ago, the two goats Goatfreed and Goatleeb Udder landed on Earth from the distant planet of planet GoatEborg to honor us with hard sounds. Some extraterrestrial acts have already tried to gain a foothold on earth, always with the intention of world domination, but only the prominent pair of brothers have been able to do so so far. With their last two studio albums, the band made it into the official the official German album charts - with their groovy sound somewhere between death metal and grindcore. The debut album "Back From The Goats" was released on CD & Digital on 30.10.2009. Now, for the 15th anniversary of the record, the album will be released on vinyl for the first time.

Eine weitverbreitete Utopie ist die Ewigkeit. Eine andere ist das Glück. Man spielt mit dem Leben - wie gehabt und wie immer ohne Gewähr!

Manche tragen ihre Hoffnungen an die Börse, andere zur Glücksspielannahmestelle. Die Berliner Band Milliarden befindet sich auf ihrer neuen Studioeinspielung 'Lotto' in der Transitzone zwischen Kommen und Gehen. Dort, wo der Puls rauscht und Dasein Ankunft und Abschied bedeutet. Milliarden sind Ben Hartmann und Johannes Aue aus Berlin.

- Ltd. Col. LP: (Clear Vinyl+ Poster)

Eine weitverbreitete Utopie ist die Ewigkeit. Eine andere ist das Glück. Man spielt mit dem Leben - wie gehabt und wie immer ohne Gewähr!

Manche tragen ihre Hoffnungen an die Börse, andere zur Glücksspielannahmestelle. Die Berliner Band Milliarden befindet sich auf ihrer neuen Studioeinspielung 'Lotto' in der Transitzone zwischen Kommen und Gehen. Dort, wo der Puls rauscht und Dasein Ankunft und Abschied bedeutet. Milliarden sind Ben Hartmann und Johannes Aue aus Berlin.

- Ltd. Col. LP: (Clear Vinyl+ Poster)

Milly make songs that simmer and spark. The Los Angeles-based band, led by songwriter Brendan Dyer, finds power in the slow burn: their music carries the tension of a lake’s surface moments before a storm hits, or a cracking pane of glass moments before it shatters. Their debut album, Eternal Ring, is kinetic, physical, and often a little bit volatile — a mixture of emo music and 90s-indebted indie that tastes as if it’s been fermenting for years, feeding on itself until it becomes something new entirely. A profound first full-length statement from Dyer and his closest collaborator, bass player Yarden Erez, it’s a record that takes the anxiety of modern-day America and filters it through a prismatic, powerfully individualistic lens, resulting in something intense, bracing, and deeply modern

Rising, enigmatic Brighton songwriter Milo Korbenski delivers his debut album proper When You Gonna Tell ‘Em the Truth, Aaron?, a stunning collection of haunted, heavy, unique art-dream-indie-pop earworms.

Milo Korbenski is a shadowy, anonymous Brighton solo musician only publicly seen in a featureless white mask, Stetson and denim jacket. However, his deeply expressive take on lo-fi slacker indie invokes a heartfelt intimacy, singing straight from the soul. This new album - an official debut following a period of self-releasing - displays endless catchy-as-hell hooks, clever lyrical wordplay, and deceptively lean instrumentation that belies its own simplicity.

The music of WYGTETTA? (Milo’s own stylisation) crosses references points as broadly spread as Kurt Vile, Helado Negro, Black Sabbath, The xx, The Cocteau Twins, Siouxsie Sioux, Jagwar Ma and Calvin Johnson while retaining a vitally singular energy. Milo’s underlying unreality is more haunted than the indie-leaning acts mentioned here, and the readymade homespun cassette sonics lend a charm beyond the prettified sheen of his pop influences.

Deutschraps neustes Level heißt 'Level H2O'! Das Debütalbum der Rapperin MIMII verbindet alles, was Fans von Conscious Rap und LoFi-Sounds sich wünschen: Warme, verspulte Beats aus den Studios von Misc.Inc und Rzany, dazu deepe Texte - mal abstrakt, mal poetisch aber dabei immer entwaffnend ehrlich und selbst-empowernt. 'Level H2O' ist ein Album über Transformation, das nichts schönredet, aber doch zeigt, dass auf jede 'Eiszeit' und jeden 'Wolkenbruch' eine neue 'Blüte' folgt. Schon seit ihren ersten beiden EPs '3 Meter Straßenlicht' und 'Hunter' gilt MIMII als Underground-Geheimtipp weit über ihre Heimat, das Rhein-Main-Gebiet, hinaus. Mit ganz viel Liebe zur HipHop-Kultur und dem Label 365XX im Rücken zeigt die MC klar, dass sie gekommen ist, um zu bleiben.

Ministry successfully combined industrial heavy metal and electronic beats with a punk attitude. Drawing heavy on the sampler, synthesized sounds and thick layers of distorted guitars, this group preceded highly successful acts such as Fear Factory and Nine Inch Nails. Their fourth album The Mind Is A Terrible Thing To Taste (1989) followed up on their successful effort The Land Of Rape And Honey [MOVLP651]. When released, the album cracked the Billboard Top 200. It’s proof that the fanbase of these guitar heavy synth slingers is quite sizeable, so say the least.

The Mind Is A Terrible Thing To Taste is available as a limited edition of 1500 numbered copies on coloured (clear & black mixed) vinyl.

Milky Clear Vinyl. Aprender a Ser: Extended is an EP by Mexico City band Mint Field. It was recorded in the same sessions as Mint Field's latest album, Aprender A Ser. Mint Field decided to split the work into an album and an EP as they felt it was too dense for a double album and wanted these songs to co-exist in another space and have its own time to shine. As with Aprender A Ser, the EP incorporates influences from shoegaze, trip-hop, dream pop and electronic music. The final track includes longtime friend and cello player Mabe Fratti to play Cello. Time. It's something we tend to cherish. As a band, you're typically thrown into more than usual stressful scenarios when recording albums and rushing decisions becomes the norm. Mexico City's Mint Field knows this all too well. Rewind to the spring of 2020 (yes, Covid). The band started fleshing out their new album Aprender a Ser (meaning Learn To Be in English), the follow up to 2020's minimalist psych/ shoegaze album, Sentimiento Mundial. For the first time, the band was not under any time constraints in the recording process. They wrote, recorded, produced and mixed the album in isolation. They had time to slow things down and think more obsessively about the sound, environment and vibe they wanted to create. Aprender a Ser became really intimate, every single detail was meticulously worked on. Mint Field recorded take after take, but at the same time tried to keep the soul of the demos intact. Some of the guitar and drums are first takes in the final versions. The band would let a recording sit, leave it and come back to it. The songs evolved a lot doing so, but at the same time didn't lose the essence of its original intention. Thematically, Aprender a Ser talks about opening our perspective of the reality that we live every day, acknowledging each moment that we witness in life. Learning to recognize what we are, what we live, what we see, what we feel. Whether it's seeing ourselves in the past and observing how we have evolved in the present. Or the lifetime of a butterfly from its formation within a cocoon to how it lives its short life in five days. Or seeing how an orchid slowly opens every day, never forgetting the essence of what we are and will be. Nothing in life should be taken for granted. Living in the present is a gift. Learning to be (Aprender a ser) is learning to recognize our emotions, not repress them, not turn them off and feel them.

Roughrider, the new album by Tim Midyett (Silkworm / Bottomless Pit) and MINT MILE rolls through the grace we crave and grant one another, the lengths we go to accommodate those we love, the depths we sink chasing ghosts - temporarily, repeatedly, maybe always and the labyrinthine nature of life, as the chaos inherent in the world provides the capacity to surprise, delight, deflate, disappoint. We try to get it in while we still can, reveling in the good-to-great and avoiding the worst of it. With Jeff Panall (Songs: Ohia), Justin Brown (Palliard), Matthew Barnhart (Tre Orsi) and a cast of fellow travelers including appearances by Nina Nastasia, Alison Chesley and Joel RL Phelps.

Limited Transparent Blue vinyl. “Pop” is a tag that’s been assigned to Minus the Bear throughout their career. It’s been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP, and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It’s also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it’s a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Beer Commercials is the evolutionary step between Minus The Bear’s first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track “Fine + 2 Points” remains one of the band’s strongest opening tracks in their discography, charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue’s “Can’t Get You Outta My Head.” If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with “Let’s Play Clowns” and “Dog Park”—nods to Highly Refined Pirates’ formula of frenetic clean guitar work, bombastic choruses, and Jake Snider’s lyrics of detached romantic nostalgia. These tracks may represent Minus the Bear’s original trademark version of pop but on songs like “I’m Totally Not Down With Rob’s Alien,” the band eschews its restless energy for atmosphere and dynamics, creating a sound that’s inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out “Pony Up!” the listener has watched the three-year sonic transition between Minus the Bear’s first two full-lengths transpire within under half an hour, with their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn’t fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus the Bear became one of the most important and influential indie rock bands of the new century

To celebrate Minus the Bear’s 20th anniversary, Suicide Squeeze is issuing the band’s earliest recordings on color vinyl. 'This Is What I Know About Being Gigantic' is the starting point, Minus the Bear’s debut. Originally released on CD in 2001, this edition was remastered for vinyl by the legendary Bernie Grundman, the Hollywood-based sonic icon behind many of the industry’s landmark recordings. This pressing is limited to 1,000 copies