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Rancid - the legendary Bay Area punk rockers are back with their 10th studio album, Tomorrow Never Comes on Epitaph Records. Emerging from the blue-collar swamps of Berkeley, California, Rancid has now been a living, breathing punk rock band for over a quarter century. Back in 1991, after the demise of their much beloved and still influential first band, Operation Ivy, founding members Tim Armstrong (vocals, guitar) and Matt Freeman (bass, vocals) decided to do the impossible — start an even better band. Thus, Rancid.

Signing with Epitaph Records, the band released their first album, “Rancid,” in 1993. Shortly thereafter, Lars Frederiksen (vocals, guitar) joined the band and they went on to release incredible records from “Let’s Go.” (1994) to their classic - platinum selling “…And Out Come The Wolves.” (1995). Drummer Branden Steineckert joined the band in 2003, cementing the line-up that rocks out till this day.

Abracadaboum is the third studio album for Bérurier Noir.

While the group went on a concert strike in the summer of 1987, they remained active and took advantage of the opportunity to record a new album with a sharp eye on world events.

Les Bérus, always in the vanguard of an alternative youth that challenges taboos and norms, release 10 new hymns to insurrection and try to explode the borders set up by intolerance.

The future is not violence but solidarity!

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The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.
From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.
The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

"When everyone left NYC, the sewer opened and we crawled out." Prolific Brooklyn institution The Men return with their ninth studio album, 'New York City'. Arriving following 2020's 'Mercy', the new LP is released February 3rd 2023 on the group's new label home Fuzz Club Records and marks a return to the more scuzzy and abrasive rock ploughed over their decade and a half spent coursing through the grimy sewers of NYC. Here, nocturnal proto-punk meets a timeless, all-guns-blazing rock'n'roll gusto. That the album leans into a more primitive, back-to-basics sound owes largely to the way in which was forged, an earlier version of the record scrapped in favour of four people playing in a room together. "The New York City album was revised, reorganized and shaped until it became clear that things fall into place like the hammer driving the nail or the scythe's swipe through the tall grass." The end result is a series of cuts played live and recorded to 2" tape in Travis Harrison's (Guided By Voices, Built To Spill) Brooklyn studio. 'New York City' is a record that doesn't stop moving for a second, packed full of the kind of energy you can only really capture in a live setting. "These songs became the blood of the band as the band could only exist for and of these songs. There was no place else to hang their hats. Without making this record, the group would not exist, so there really wasn't another option. NYC is fluid. It means a lot of different things to all kinds of people. We present the record in that spirit." Pressing Info: 180g white vinyl, printed inner-sleeve, download card included. CD Gatefold jacket, printed inner-sleeve.

Deerhoof's fan-favorite breakthrough album, Apple O', gets a 20th-anniversary edition after years of being out of print in the physical realm. They say the fruit from the Tree of Knowledge was actually a pomegranate. But Pomegranate O' did not sound as catchy. Of course, knowledge of what, exactly? Could be the serene and orderly discipline of music, it could be the ability to instantaneously destroy the entire species in an apocalyptic fireball. This album is a love story. It is about Satomi's mom being a Japanese girl when Truman got that ecstatic glint in his eye and blew up chunks of her country in a mushroom cloud, and next thing you know Satomi has moved to San Francisco and taken over an American noise-rock band. It is also about a different US president with an ecstatic glint in his eye, selling a criminal invasion with lies about weapons of mass destruction. This edition of Apple O' is on vinyl the color of cotton candy accompanied by a bonus 7" of previously unreleased live recordings.

Over the last few years, Bristol born, London based artist LCY has become one of the guiding lights in a scene of fans who like their club music deep, dark and with a heavy dose of rhythm. Releasing predominantly on their own label SZNS7N, LCY has transcended musical boundaries, taking from a wide range of musical influences to create their own fluid hybrid style that indulges the deepest desires of those who chase a visceral dancefloor response - uplifting a huge amount of unconventional producers alongside them in the process. Today marks the announcement of their first release on fabric Originals, the flagship label from global club imprint fabric, alongside a new single, ‘Bad Blood’.

Opening to a stark cascade of sonic shards and mechanised vocal chops, ‘Bad Blood’ descends into a sparse percussive workout. The track expertly makes use of space in its composition, stripping down its raw elements to reveal a beat that’s purpose built for sweat. Using glitching elements to find new elements of intricacy within its drum programming, LCY inexplicably creates a composition that’s wholly inviting despite its ominous sound - with even the track’s more human elements twisted to sound like they’re from an outer realm.

Reggae Roast, the UKs premier Reggae Soundsystem collective are delighted to bring you their second studio album More Fire!. Following on from their debut Turn Up The Heat, which was released through Trojan Records reaching #1 in the iTunes Reggae charts.

Having been at the centre of the UK Soundsystem scene for over a decade, Reggae Roast have brought together a plethora of world-famous reggae stars on one record, including veterans Horace Andy, Johnny Clarke & Horseman, alongside more contemporary vocalists such as Gappy Ranks, Mr Williamz & Soom T.

Joining the dots between reggae and UK bass music, Reggae Roast take you on a joyful journey through the ages, seamlessly taking influences from Rocksteady through to Roots, Dancehall, Jungle and Dubstep.

More Fire! will be released as a limited edition of 1000 individually numbered copies on flaming coloured vinyl, cut at 45RPM and housed in a gatefold sleeve with 2 printed inner sleeves.

The very first time on vinyl for The March Violets’ ‘difficult’ debut album!
Limited edition in PURPLE vinyl in gatefold sleeve with lyric sheet released on RSD2023. NonReturnable.
Originally from Leeds in the early 80’s – label-mates of Sisters of Mercy.
THE MARCH VIOLETS came out of Leeds in the early 80’s, label-mates of Sisters of Mercy. Constantly at the heights of the UK indie singles charts, the singles became the foundation of LP compilations in the UK and USA. Signing to a major, they featured in the John Hughes’ Some Kind of Wonderful movie with two songs, but split up before an album was completed. Twenty-five years later they reformed, touring the UK and USA, and at last completed their first album, Made
Glorious along with a video of ‘Dandelion King’ via a well over-subscribed Pledge Music campaign in 2013.

Fans got access to a very limited CD and download, but sadly various events conspired to stop a planned vinyl production. Here at last is the long-awaited ‘difficult first album’ on vinyl from The March Violets!

Limited edition yellow vinyl of The Adicts’ fourth studio album. Released on RSD2023. Non-Returnable.
Not since the 1980’s has this album been available on vinyl!

Now with a new inner bag, lyrics and a previously unseen colour photo session.

The Adicts came from Ipswich on the east coast of England, dressed in white in an amalgam of The Joker and Clockwork Orange imagery. Their previous two LPs had made a big impact in the UK, with singles
entering the lower reaches of the national charts on Sire Records – (who insisted they change their provocative punky name to ADX or The Fun Adicts when on children's TV!).
With catchy, glam-punk singalong tunes and theatrical shows, The Adicts still continue to grow their audience and have regularly toured the USA, UK and Europe.

Wellen.Brecher is an inclusive band that emerged from the Killekill's Berlin-based project Ick Mach Welle. It consists of Werner Soyeaux aka Black Davil, Uwe Locati aka DJ Locati, Dave Senan aka Senator and Hanni Kusch, a member of the German punk band Pisse.

After a very busy year 2022 with touring, the band are ready to bring you their debut EP "Hitmaschine". Included on the release is "Lasst Uns Feiern", the band's "Anthem", a banging rave influenced mega-hit that manages to hit-hard and deep while keeping the overall vibe happy and fun. For his remix, The Hacker radically cuts things back while adding a hefty portion of 90s hardcore to deliver you another "hit".

On the B side, band member DJ Locati strikes sonorous notes with his vocals, spread over a base of hypnotic acid trance and progressively developing into a deep dive down into a rave tunnel. Rounding out the record is a guest appearance by the band 21Downbeat. Their reinterpretation of Wellen.Brecher's Tierisch Verboten (which was released as the opener of the "Superbrains" compilation on Killekill) brings a healthy dose of smashing newwave to the proceedings.

Riot Grrrl fire and noise meets musical debauchery from Latin America. Born in Argentina in 2017, Blanco Teta is more than just a band. The project melts experimental rock, punk-pop and trash noise to develop a statement that pass over genre limits. The quatuor digs with intensity into noise, dance, avant-garde but also into politic with a clear speech on transfeminism. From the suburbs of Buenos Aires to some of the most interesting European festival, passing by an outstanding KEXP session, the live iteration of Blanco Teta proposes something so fresh crossing border of performance to create an immersive experience at high level of energy and madness. Rompe Paga is their third record material but also their first LP. Going from trashy skate-punk vibe tracks to serious noise experiences, the band experiments with no limit. Using a lot of glitches effect or digital mixing tools as autotune, the album is a real mind blower. With very political lyrics, Blanco Teta goes further than just a punky project, it demonstrates the power of music and put the audience into something real.

As Generationals, Grant Widmer and Ted Joyner have been stretching the boundaries of pop music for over a decade. From Con Law, their ebullient 2009 debut, to their adventurous and groove-infused LP from 2019 Reader As Detective, the New Orleans based duo have made songs that are consistently immediate and memorable. Even though their music always sounds effortless, they approach their songwriting with an auteurlike perfectionism: constantly tweaking and fine-tuning their craft. Their


forthcoming LP Heatherhead showcases the band at the height of their powers: writing joyous & catchy ear-worms that straddle the line between classic songwriting and modern pop sounds.

The 1st album released in August 2021 attracted attention in the overseas scene, and labels from various countries such as Italy, Argentina, US and Poland. More release realized. Only half a year after that, they completed the remarkable 2nd album. Based on the royal road doom sound and the music with the blues feeling derived from 70's, the band ensemble with more euphoric feeling gets a lot of attention. A full lineup of songs such as "Devastator", which freely grooves from a side-beating beat to double bass, and "Agua De Vida", which enhances smoke and trip feeling under the direction of Mr. Okazaki. In the mellow "Underneath the Sky" and "Running In my Vein", the taste that has withered moderately is impressive. With the help of an effectively crafted album composition, it can be argued that they have reached the next level in this work. Don't miss the further leap of "Tokyo samurai doom" !!

Tigercub return with their highly anticipated new album The Perfume Of Decay via Loosegroove Records (the label co-founded by Pearl Jam guitarist Stone Gossard). With The Perfume of Decay — Tigercub' third record of nocturnal, hard-hitting rock, as well as their first full-length release for Loosegroove Records — frontman Jamie Hall draws the curtains shut and embraces a moody, melancholic sound that's every bit as cinematic as Hollywood itself. It's an album about counterpoint and opposites, stacked with songs that contrast overdriven guitars with whispered vocals, tight grooves with shoegazing swells of noise, sonic experimentation with sharp songwriting. For a band that's always trafficked in drama and dynamics, The Perfume of Decay marks Tigercub's strongest release to date.

Redshape's visits to Running Back are a welcome recurrence and a soothing reminder that techno and house can still come in several shapes and sizes. Related and referring to earlier acid studies on Release Me and to a certain extend on Rise, the masked man continues to find new approaches to the 303 canon with Acid Leak.

True to form, the seasoned producer choses groove over governance, lets batteries leak and strikes a chord or two with old lovers and new votaries of the classic club techno titans of the nineties - strings included.

Wing Wing is an exemplary excursion into the special and unmatched Redshape zone that rejoins rock and dental drillers, while Acid Flow counterpoints the titles track's opulence with a dub version - both hit like a streak. The curveball and icing on the cake is Frantic. Hi-tech-jazz in technique and -soul in attitude, it feels like a late contender to the quintessential Deepest Shade of Techno compilations. Four to the floor!

Kelsea’s fourth album, SUBJECT TO CHANGE, arrived on September 23, 2022. The first single, “HEARTFIRST,” quickly took over airwaves, and was the “most added song at country radio” the week of its release. Most recently, Kelsea earned a GRAMMY® nomination for “Best Country Solo Performance” for “HEARTFIRST.” Kelsea Ballerini is ready to continue making history in 2023 and beyond. The two-time Grammy nominee previously teased Subject To Change in April, and said that the '90s-tinged "Heartfirst" set the tone for what's to come. "There is a lot of nostalgia to this record," she said. "It does sound really '90s-inspired, '90s country and '90s pop... I really just wanted to start this next chapter with something that feels good. It's breezy, it's happy, and I hope people hear that."

Peaness' double EP "Are You Sure?", featuring songs from their first ever EP "No Fun" plus previous 7" and cassette releases such as "Oh George" and "Seafoam Islands" which was originally released in 2017. As a firm fan favourite, their 'Petite Pois' as they have so affectionately named their fanbase, will be over the moon that they are finally getting a repressing of this record. Limited one off pressing on Splatter (green and yellow) coloured vinyl.

Billy Preston’s mastery of the organ was such that he was commissioned for collaboration by The Beatles, The Stones and countless others, his classic Hammond work a defining element of ‘Get Back.’ Released in 1964 when Preston was still 19, The Most Exciting Organ Ever mixes swinging originals such as ‘Low Down,’ ‘Soul Meetin,’ ‘The Octopus’ and ‘Billy’s Bag’ with expressively soulful covers of standards such as ‘If I Had A Hammer’ and ‘Don’t Let The Sun Catch You Crying,’ ably showcasing Preston’s awesome dexterity and unmatched ability on his chosen instrument. With every track a winner, the title rings true!

Though she had been performing professionally since the late 1920s, as a teenager in Harlem, during its Renaissance, the immortal Billie Holiday didn't play a single night on the European continent until 1954. It was in that year that the great journalist and musician Leonard Feather, and a Swedish promoter organized the Jazz Club U.S.A. tour, named after Feather's wildly popular radio program. Featuring Red Norvo, Sonny Clark, and more, the centerpiece of Jazz Club U.S.A. was, undoubtedly, Lady Day. Recorded at various dates across the tour, Lady Love shows Holiday still had it, despite the turmoil, and drug and alcohol abuse, her voice remained strong, a stunning document of one of America's greatest treasures on her first ever tour of Europe.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

The Monsterican Dream is the second studio album by Finnish metal band Lordi, released in 2004. It features an overall heavier sound with a grimmer look to the band than Lordi's first album Get Heavy. This follow-up is produced by Hiili Hiilesmaa, who worked with HIM, Sentenced and Amorphis amongst others.

The album spawn two singles; "My Heaven Is Your Hell" and "Blood Red Sandman", peaked at number four in the Finnish album charts and was certified Platinum. It was re-released in Finland as a limited edition on DVD, which included Lordi's short film The Kin.

The Monsterican Dream is available on vinyl for the first time as a limited edition of 666 individually numbered copies on translucent red coloured vinyl. The album is housed in a gatefold sleeve and includes an 8-page booklet.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

Erol Alkan further expands on his production for Duran Duran’s acclaimed 2021 studio album, ‘FUTURE PAST’, with a ceremonious, widescreen rework of the single ‘GIVE IT ALL UP’.

Recorded in London with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, as well as Blur's Graham Coxon on guitar, ‘GIVE IT ALL UP’ also features contributions from Swedish singer-songwriter Tove Lo, whose soaring vocals anchor the dramatic progression of Alkan’s sensitive reinterpretation.

Blossoming in unison with Le Bon’s own iconic voice and an insistent bassline that recalls the band’s innovative ‘Night Versions’, Alkan draws closer together Duran Duran’s legendary instinct for both pop music and the dancefloor alike. Expanding on this, the 12” includes a ‘Stripped Vox’ version which appears exclusive to the vinyl edition, arranged by Alkan for his own DJ sets and proven to be a powerful tool at clubs and festivals over the past few months.

Originally released as part of Perc's Greed Dance 12" in late 2021 Resistor has since taken on a life of it's own, receiving plays & support from I Hate Models, Randomer, Somniac One, Cera Khin, Umwelt, New Frames, Cassie Raptor, Ghost In The Machine and of course Perc himself. Now Resistor returns with three brand new remixes, each taking the original mix to entirely new places.

First up is UK underground hero and Skuxx Records main man Tassid delivering a festival slaying slice of sub heavy UK techno which has been Perc's closing track at his gigs, including at Awakenings in April, from the moment he heard it. Next Jensen Interceptor takes a completely differed approach dropping subtle elements of the original mix of 'Resistor' and a sprinkling of science fiction samples over a hard jackin' groove sitting perfectly between techno and electro.

Finally Berlin based Wallis, shows why she is leading the new school of French producers with a gritty industrial groove, with just the slightest hint of 'Resistor's infamous lead lines breaking through the dirt, to round off a diverse, yet satisfying remix collection.

Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, 'Spiderman of the Rings' establishes Dan Deacon as a new type of entertainer in the contemporary underground.

The legendary 1964 rehearsal collaboration receives its first official issue Restoration and Mastering by Grammy®-winning engineer Michael Graves Packaging contains rare photos plus liner notes from Jorma Kaukonen Jorma Kaukonen (later of Jefferson Airplane and Hot Tuna) met a singer named Janis Joplin at a hootenanny in San Jose, California, in the fall of 1962. Over the following years, Janis would call on Jorma to accompany her at gigs. As they continued to play together, the Bay Area was changing musically and developing into the legendary San Francisco scene to which both Janis and Jorma would be integral. During a rehearsal for a show in North Beach, Jorma started his reel-to-reel machine to capture what they were working on. For decades, this recording was the stuff of legend, with inferior, multi-generational transfers making their way through select collector’s circles. Now, for the very first time, it is available officially, with the blessing and cooperation of both the Janis Joplin Estate and Jorma Kaukonen. The Legendary Typewriter Tape: 6/25/64 Jorma’s House contains this legendary recording, featuring Restoration and Mastering from acclaimed, Grammy®-winner Michael Graves. The tracks include Joplin on vocals, Kaukonen on guitar, and Jorma’s wife Margareta typing away intermittently in the background. This may have just been a rehearsal, but it is so much more. Featuring Joplin originals, as well as blues classics, The Legendary Typewriter Tape is an intimate glimpse into two major artists at the beginnings of what would become highly influential careers. As Jorma says in his liner notes: “This is indeed a window into a simpler time when the music truly was everything.” Available on CD and Digital December 2, 2022, the release will also be available on vinyl exclusively for Record Store Day Black Friday, November 25, 2022 Enjoy being a fly on the wall and revel in the magic of The Legendary Typewriter Tape.

FINALLY BACK IN STOCK ON LP!!! Ozma was recorded soon after Melvins made the move from Washington to San Francisco, and was their first release to include the diminutive yet mighty Lorax (Lori Temple Black) on bass. In fact, the first sound one hears at the album’s opening is Lori standing on her tiptoes to switch on her amp, thereby warning the listener of the onslaught to come. Distorted, down-tuned doom riffs start, stop, lurch sideways with no warning, and seem to end before they start. Buzz Osborne adds extraneous guitar static and vocal squeals. Drummer Dale Crover plays as if he’s inside a barrel going over Niagara Falls; the long, slow fall allows the space between beats to grow and grow until he crashes into the water with the vessel blasting apart in an explosion of drum rolls. The classic Melvins heavy grind is set up and broken up by assorted odd sidetracks: “Revulsion / We Reach” flows forward slower and slower until it eventually melts into a gooey feedback drone. “Raise a Paw” is a superball paddled against one’s head by a grinning village idiot. “Love Thing” enlists in the Kiss Army before getting dishonorably discharged.

Pacific Blue Vinyl, limited to 200 copies. From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG NASTY, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with DOWN BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records.

When he founded DON'T SLEEP with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, DON'T SLEEP was finally ready to release its debut album "Turn the Tide" in 2020.


And then the world came to a grinding halt. But after the dust settled, all five members decided that DON'T SLEEP was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM PETTY cover to the mix. The result is DON'T SLEEP's second full length "See Change".

Transparent green vinyl. From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG NASTY, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with DOWN BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records. When he founded DON'T SLEEP with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, DON'T SLEEP was finally ready to release its debut album "Turn the Tide" in 2020. And then the world came to a grinding halt. But after the dust settled, all five members decided that DON'T SLEEP was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM PETTY cover to the mix. The result is DON'T SLEEP's second full length "See Change".

Tristan Da Cunha dons his Freakenstein alias and debuts on UTTU with a special split release! the Hot Haus Side shows show off his sought after House prowess before flipping over to the UTTU side for Freakenstein’s Electro flare to shine over 2 red-hot-elektro-werk-outs.

Back in February, the prolific Past Inside The Present label boss Zake hooked up with Marc Ertel, James Bernard, and From Overseas at Crown Hill Cemetery in Indianapolis for a very intimate live show in a historic Gothic Chapel.

A vast array of instruments were used including a Fender Telecaster, Meris Mercury 7, Eurorack modular synthesizer, Stingray bass guitar and literally tens more tools and toys and the resulting eight tunes of absorbing ambient are all presented here. It is another mystic and mystifying release from this label that reaches sublime new emotional highs.

Past Inside the Present's 'Pulse' series is an investigation into ambient tech and beat-driven ambient sounds. Who better for the job on this second edition than master craftsmen ASC and Joachim Spieth? ASC opens up with 'Tidal Disruption Event', an understated, underwater rhythm with jittery percussive patterns and bright shards of melodic light piercing through the mix as more coarse soundwaves break over the top. Spieth's 'Subtle' is just as artful and delicate a mix of persuasive rhythm and melodic beauty. A classy Nitechord remix closes out this fascinating EP.

Ygrok brings a long-awaited fourth release to its catalog. René Audiard's Sakhalin' takes things a step away from traditional club music.
The A side, Vox Out' opens with the skeleton of a rhythm. Scattered tom drums and barely detectable whirs, fading and reeling in the background. When the distorted voices begin their story behind a hissing, grinding off-shaker, you know this will not be your traditional club track. A story develops. The barest hint of a shuffling beat, a subtle reminder of Soren's previous work, pins down the journey into the darkest psychic territory. The title track Sakhalin steps even further into darkness. Crackling electrics and disjointed atmospheres change at a glacial pace over a submerged hydraulic beat. Sakhalin Audiard experimental territory.

Ultramarine are an English electronic music duo, formed in 1989 by Ian Cooper and Paul Hammond.

Cooper and Hammond first worked together in the band A Primary Industry during the mid-1980s. Following the split of that band, they formed Ultramarine and released their debut album 'Folk' in April 1990 on seminal Belgian label Les Disques du Crépuscule. The duo found critical acclaim with their second long player, 'Every Man And Woman Is A Star', initially released in 1991. Over the next decade or so, they recorded two John Peel sessions, collaborated with Robert Wyatt, toured the States with Orbital, then Europe with Björk. After a hiatus, they began recording again in Ian's home studio, overlooking the Blackwater Estuary in Essex.

The moods and movements of this English estuary can be heard running through the duo's stunning and deeply intriguing new album 'Send and Return'.

Flowing and mutating as it transitions from an Essex river into the open sea, the Blackwater Estuary, north of London, inspired this beguiling collection of hypnotic jazz, itching electronica and softly dazzling ambient shapes.

For the 6-track album, Paul and Ian hired a Thames sailing barge moored on the estuary for one day and recorded below deck in the ship's downstairs wooden saloon; the idea was originally inspired by seeing Robin Williamson of The Incredible String Band perform on a similar barge.

The duo were joined by jazz musician Greg Heath and accomplished percussionist Ric Elsworth for the day, who added stunning saxophones, alto flute, percussion and vibraphone to the mix. It's a contemplative, ambient record with gentle jazz inflections and softly pulsing electronica.

Wirski’s debut on MISBHV Recordings offers a nuanced narrative operating in its own genre of Eastern European rough-edged club melancholy.

MISBHV004 opens with Inside The Dark Echo – a claustrophobic, stifling, relentless, sensual dance with desire. Darkroom complexity with heavy surface tension built on an EBM undercurrent flirt with subtle psychedelia and traces of acid that slowly firm up their multi-layered grip through its running time of six and a half minutes.

Warszawa paints a stripped-back, tantalizing picture. Opening with a brutalist, militant drum programming and surprisingly spacious, warm bassline, its rigid rhythm, tightened up by a repetitive, cold breath mantra eventually opens up to bright, shimmering synth flickers evoking olibanum – the sacred scent of altar candles. Warszawa is looking at the multilayered melody of its landscape – from eerie Soc-realist blockhouses, through neon-lit, seedy strip clubs of the 90s to opulent sacral architecture.

Warm Waters Of Eternity subtly weave a cinematic, Carpenteresque soundscape with a sense of overpowering, ecstatic innocent euphoria that invokes a dream of an early 1990s rave deep in the dark woods of Poland.

Sylvie Vartan's most wonderful songs beautifully remastered by Mr. Nick Robbins at Sound Mastering... Super cute, lovely, yet Rock n Roll artwork by Mr. Allan NoMan

Detailed liner notes by M.Jean-Emmanuel Deluxe, author of the acclaimed, beautiful, and definitive book "Ye-Ye Girls of '60s French Pop"

Imagine..if you will...a world in which your dearest chic girl pop singer guests a couple of humour records, goes on to have hit after hit, is all over TV and media, with the coolest radio shows and magazines for youngsters being almost fanzines for her. Then she gets her own TV shows and um, marries Elvis, and does a multi-night stand at the Paris Olympia where The Beatles are supporting HER! That world existed, it was early 1960s France, a marvellous, self contained world of music, film and art, where Vince Taylor was not a weird guy in leather pants who never really clicked with the kids,but the major star he was in his own head! And..Well, obviously, it wasn't really Elvis, but the French-World analogue Johnny Hallyday (handsome, good hair, and a great dancer!), so..in France it WAS!... But the hits? The TV shows? And the magazines and radio? Yes! Those really happened....and The Beatles did support her (and it was a big and lucky night in their career!)...Now, don't you wish we were there, in that world? A bizarro technicolor mix of....I don't know, Viva Las Vegas/HELP!/Les Demoiselles de Rochefort? I certainly do...or maybe pop this record on and let's pretend? Oh, I think so, yes...

Carole King’s The Legendary Demos will be released April 24th, 2012 via Hear Music / Concord Music Group. A previously unreleased collection of 13 history-making Carole King recordings of some of her most celebrated songs, The Legendary Demos traces King's journey from her days as an Aldon staff writer in the 1960's, where she crafted hit after hit for other artists, to the dawn of her own triumphant solo career in the 1970's, and contains her original recordings of future standards like "(You Make Me Feel Like) A Natural Woman," "It's Too Late," and "You've Got A Friend." Featuring liner notes by acclaimed author and Rolling Stone contributing editor David Browne, the collection brings to light a heretofore missing link in the chain of King's career. Fittingly, The Legendary Demos serves as a companion to King’s long-awaited memoir, A Natural Woman, which is being released April 10th, 2012 via Grand Central Publishing.

Aldon Music used these demos—short for “demonstration records”—to pitch King's material to other artists, from Gene Pitney and Bobby Vee to Aretha Franklin and the Monkees. While the recordings have long been coveted and collected within the industry, they have never before been released to the public.

Whether it was a potential single for the Monkees or a solo performer like Pitney, King’s demos were remarkable in their completeness. “When she sat down to the piano and played a demo of one of her songs, the whole arrangement appeared right in front of your eyes magically,” recalls Brooks Arthur, who engineered a number of these efficient sessions for King at one of several midtown Manhattan studios. “A lot of the smarter producers would adhere to Carole’s demos. If you stuck to that, you’d come home a winner.”

King and then-husband / songwriting partner Gerry Goffin signed with Aldon Music in 1959, and anyone who listened to the radio during the first half of the ‘60s will recognize the songs of teen passion and devastating heartbreak heard in King’s original recordings. “Take Good Care of My Baby” was a No. 1 hit for Bobby Vee in 1961. Goffin’s gift for tapping into teen anguish—in this case, hiding behind a stoic public face—was never conveyed better than in “Crying in the Rain,” which the Everly Brothers took into the top 10 in early 1962. “Just Once in My Life” was the Righteous Brothers’ follow-up to their still-spine-tingling “You’ve Lost That Lovin’ Feelin’,” and King’s demo reveals how she and Goffin were instantly able to tap into the duo’s (and producer Phil Spector’s) dramatic, impassioned sound.

Like many of their fellow songwriters at the time, King and Goffin wrote songs for Don Kirshner’s TV show about a fictional, Beatles-derived pop band that debuted in September 1966. The Monkees turned out to be more credible singers (and musicians) than anyone initially expected, as their high-charting 1967 version of King and Goffin's “Pleasant Valley Sunday” revealed. The Monkees also cut “So Goes Love,” a dreamier ballad heard here, but the track didn’t make their first album and wasn’t released until long after they’d disbanded.

The Legendary Demos includes early takes of six tracks that formed the basis for King’s world-wide solo breakthrough Tapestry. King and lyricist Toni Stern’s ever-poignant “It’s Too Late” is here, along with King’s own “Way Over Yonder,” “Beautiful” and “Tapestry,” all three bursting with the artistic and spiritual renewal infusing King’s life during this period.

Among the collection’s numerous gems is the original 1967 demo for Goffin, King, and producer Jerry Wexler’s “(You Make Me Feel Like) A Natural Woman,” a song that would later appear on Tapestry and of course be famously cut by Aretha Franklin later that same year. King’s version offers several different takes from the Franklin and Tapestry versions. Her delivery in the opening lines is looser (check out the way she stretches out “Lord” in “Lord, it made me feel so tired”), and the bridge is even more imbued with palpable romantic and sexual heat.

And finally, there’s King’s initial take on “You’ve Got a Friend,” a classic entry in the Great American Rock Songbook. Milling around in the Troubadour balcony during soundcheck, her friend James Taylor heard King perform the song on a bare stage and was immediately taken with it; his own version, a massive hit, would arrive the following year.

In a world of endless, bottomless content, to find something that stands out from the crowd is a rare thing. But it’s something that 7ebra manage without breaking a sweat. Based in Malmö, twin sisters Inez and Ella Johansson deal in sparkling indie-rock that’s pretty without being soft, sweet without losing its edge and catchy without being cheap. With Inez on guitar and vocals and Ella on keys, organ and Mellotron, their minimal set-up makes a virtue of simplicity – with a sliver of guitar fuzz, and organ lines snaking around stark, striking vocals, augmented by shivering harmonies, they don’t need a lot to make music that’s colourful, kaleidoscopic, and effortlessly original.

7ebra debuted in 2022 with the double-single “I Have A Lot To Say”/ “If I Ask Her”, two helpings of psych-tinged, street-smart rock and roll, and the music scene around them wasn’t slow to notice. They opened for the Future Islands and the Dandy Warhols, were picked out by Apple Music’s Matt Wilkinson as a Hidden Gem of 2022 and were booked for prestigious showcases SXSW and Eurosonic. With a packed schedule of shows across Europe and the UK already planned for 2023, their world looks set to get a lot bigger – something that their debut album Bird Hour makes certain. The record is a warm, elegant introduction to the sound 7ebra have crafted. The songs are full of personality and character, but also retain a little bit of enigma, a sense of keeping something secret to themselves. To unwrap that elusiveness is a daunting task, but one the listener can’t resist leaping into.

Ella and Inez’s parents played in bands as they were growing up, so picking up music was a natural thing for them. The origins of 7ebra start with Inez whiling away the hours playing guitar in her bedroom. “I learned by playing covers by myself in my room”, she says. “Ella didn’t do that as much, but we sometimes played and sang together, country songs”. Eventually she would start writing her own. Ella wasn’t involved originally (“we did play together a few times”, she says, “and it just went to shit laughs. We fought a lot”), and Inez was originally reluctant: “I was a bit unsure whether I wanted to be in a band with my sister. Because you get clumped together all the time, when you’re twins”. But Ella was keen to join, and eventually persuaded Inez to let her join for a show. It went – so well that producer Tore Johansson (The Cardigans, Franz Ferdinand), saw it and asked if they’d like to record with him. That changed things, says Ella: “It made us think there might be something in this music”. As a duo, 7ebra were in flight. “In the end, it’s kind of a nice thing too being sisters in a band”, Inez says. “It doesn’t bother me anymore. It just made sense to play together”.

On the album that they eventually came up with, the talent that caught Johansson’s eye is immediately obvious. Opener “Secretly Bad” has a way of walking along your nerves, an eerie echo of a hymn in Inez’s vocal backed by a swirl of woozy blend of guitars and organ. That’s followed up by “I Like To Pretend”, an easily charming song that has a sleepy brightness about it, like morning sunlight breaking through a window. They take a couple of different genres for a whirl on Bird Hour – they’re tense and snappy on “If I Ask Her”, breezy and cocky on “Lighter Better”, and there’s even a couple of droplets of blues and folk in the mix, in the raw intensity of the emotions in the slower songs, the vulnerability and aching of songs like “Lean” and “Stripey Horsey”. The record has a way of sweeping you along in its mood and tones, fuelled in part by the band’s use of repetition, sometimes fast and fevered, sometimes crawling and hypnotic. The duo’s musical input blends perfectly, with Inez’s guitar and vocals forming the core, and Ella drawing in the detail with keys, organ, and harmonies, to really bring out the vivid nature of the songs. Indie rock that’s melodic and sweet, but with enough shadow mixed in to make it really compelling.

On Bird Hour, what strikes you first about 7ebra’s sound is how fully formed it is, how much they’ve carved out their own sonic territory, perfected by trial and error in the studio with Johansson. “Tore wanted us to try everything possible”, says Ella. “We had moments where things weren’t working. But that was necessary in order to find the good stuff”. 7ebra’s signature might be found in the deft way they deal with emotion – unafraid of being open, but a little too clever to make things too clear cut: “You can’t take yourself that seriously. It’s too emotional to take it seriously, to start hating yourself. But at the same time, it is quite serious”, says Ella. Another trademark is the simplicity – a 7ebra song has just enough to make it work, and nothing more. “I think it was important for me that our voices were at the centre of the songs”, says Inez, “that all the little melodies have their place, and don’t get overwhelmed. With lyrics, I sometimes come up with something, and just feel ‘there’s no need to add more to this’. Sometimes a line works by itself. You don’t have to add a bunch of lyrics”. Finally, the album’s themes are ones that will resonate with most people that have set foot on this planet. “I guess it’s about trying to understand yourself, in relation to others. Just life. ‘Why am I not good at this, why is this thing happening to me, why is this thing so hard, why am I so stupid?’”, laughs Ella.

7ebra haven’t been around for very long – but a handful of songs and their fizzing live shows have stirred up the biggest buzz in Scandinavian music in quite a while. Their debut album justifies it all. It showcases the magic they’re capable of conjuring up, and hints at even more to come in the future. But from where they are right now, they’ve made something very special. Bird Hour takes all that promise and turns it into something concrete, in the form of one of the year’s best rock debuts.

DARKTHRONE'S LEGENDARY 1989 DEMO, INCLUDING ADDITIONAL
TRACKS FROM BOOTLEG TV 1989, PLUS ADDITIONAL RARE REHEARSAL
TRACKS FROM 1990 - PRESENTED ON BLACK VINYL.
Longstanding Norwegian band Darkthrone started in 1986, originally
under the name of 'Black Death', before their final infamous moniker was introduced Although becoming known the world over as a black metal band crucial to the legacy of the genre, Darkthrone began more as an extreme metal band utilising element of thrash, death & doom metal into their early compositions.

'Cromlech' was Darkthrone's final demo release before a deal was inked with Peaceville Records. The demo was recorded in 1989 with the line- up of Gylve Nagell (Drums), Ted Skjellum (Guitars/vocals), Ivar Enger (Guitars) & Dag Nilsen (Bass); a line-up which would remain in place for the revered 'Soulside Journey' & 'A Blaze
In The Northern Sky' albums.As well as the iconic 'Cromlech' demo itself containing tracks which would go on to form part of the 'Soulside Journey' debut - this release also contains additional tracks from the Bootleg TV Oslo recordings in 1989, including a cover of Celtic Frost's 'Visual Aggression'.

Finally, this edition of 'Cromlech' also includes a trio of instrumental tracks from a rehearsal tape originally made for Peaceville founder Paul "Hammy" Halmshaw, sent to him in 1990.
This edition of 'Cromlech' is presented on vinyl format with printed inner sleeve & includes the original 'Cromlech' art/logo