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Cardinal Fuzz are pleased to bring your way The Band Whose Name Is A Symbol – Ensemble 2016. Eight players made up the iteration of the always mutating ensemble cast, who were as follows for this recording - John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre and Eric Larock.

The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman).The whole session (and note this is an edit to fit the constraints of vinyl) - flies by with a reckless, organic abandon, as at times 8 players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild.

At times the feel of this recording is like a collision between a 70s album on the German Sky transported to a San Franciscan Ballroom is ’68 as the audience are peaking on ‘Orange Sunshine’ as Ensemble finishes up like a beautiful trip, well taken.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Kiefer Sutherland, mostly known as an Emmy and Golden Globe Award-winning actor, producer, and director, began pursuing a secondary musical career in the 2000s and 2010s by forming the Ironworks label. He signed Rocco DeLuca, Ron Sexsmith and started his own rootsy Americana outfit called the Kiefer Sutherland Band. Fast forward to 2021, Kiefer Sutherland returns from his UK Top 10 album, 2019’s ‘Reckless & Me’ with a brand new record, 'Bloor Street' coming out on 21st January 2022. Opening track "Bloor Street" (1st Oct) explores the sense of home both externally and within yourself. Lead track "Two Stepping in Time" (5 Nov) showcases Kiefer's classic fire sparking americana tune. Additional focus tracks include "Lean into Me" (31Dec) and "Chasing The Rain" (21 Jan).

Written and recorded over the past year, Penny and Sparrow’s remarkable new album, Olly Olly, is a work of liberation and revelation, a full-throated embrace of the self from a band that’s committed to leaving no stone unturned in their tireless quest for actualization. The songs here are fearless and introspective, embracing growth and change as they reckon with desire, intimacy, doubt, and regret, and the arrangements are similarly bold and thoughtful, augmenting the duo’s rich, hypnotic brand of chamber folk with electronic flourishes and R&B grooves. The duo — Andy Baxter and Kyle Jahnke — produced Olly Olly themselves, working on their own without an outside collaborator for the first time, and the result is the purest, most authentic act of artistic self-expression the pair have ever achieved. “Andy and I talk about the process of making this record like a sort of musical Rumspringa,” Jahnke says. “It was an opportunity to truly become ourselves, to evolve outside of the roles we’d been put in — or put ourselves in — because of the way we’d grown up.” Texas natives Baxter and Jahnke first crossed paths at UT Austin, where they developed a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter, an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of Bon Iver, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” The duo’s most recent album, 2019’s Finch, marked a turning point in their career, pushing their sound to experimental new heights as it wrestled with notions of masculinity and religion and transformation in deeper, more personal ways than ever before. The record debuted at #2 on the Billboard Heatseekers Chart and was met with a rapturous response from critics and audiences alike, racking up more than 40 million streams on Spotify and earning the band their biggest headline tour to date.

Since 2006, The Dodos (singer and guitarist Meric Long and drummer Logan Kroeber) have been careening, almost recklessly, towards some perfect ideal of how The Dodos should sound. First formed with the intention of creating a record that felt and sounded how the inside of a guitar might, the band have spent the intervening years sprinting towards that platonic goal. After widespread critical acclaim for their sophomore effort Visiter in 2008, the band toured incessantly for the next 10 years, playing countless venues all over the world including several performances on The Late Show with David Letterman and Late Night with Jimmy Fallon.

There’s an element of emotional abstraction and also something very intimate simultaneously on ‘Break into Blossom’. The stories find characters experiencing (and trying to make sense of) certain circumstances, but there’s at the same time a kind of distance from those experiences — a kind of cognitive reckoning that eventually gives way to understanding and actually feeling them.
Like picking up a tiny stone from the bottom of a riverbed. Turning it over in your hand. Holding it up to the sun. Inspecting it from every angle. But instead of a rock, it’s memories, dreams, relationships, losses, desires, anxieties, triumphs.
I took the title of the record from a poem called “A Blessing” by James Wright (1927-1980).
In the poem, the narrator is experiencing a moment of sublime beauty that’s also colored with a tinge of loss and of loneliness. The poem ends with, “Suddenly I realize That if I stepped out of my body I would break Into blossom.”
When you’re wading in the river, it may be gold… or it may just be a plain old rock. And that’s okay. Sometimes the loss itself creates a space for something profoundly beautiful.
So you keep going out and digging around, nonetheless. That’s the important thing.

For 100 LIMOUSINES’ third release, mad genius KEMETRIX unleashes 8 tracks of pure, raw, underground Detroit techno.

As a long time member of URBAN TRIBE, the name KEMETRIX rings out loud throughout the underground as a force to be reckoned with. Yet only the savviest of listeners seem aware of the prophetic depths of this artist’s unique style of anthemic, futuristic street music. HERE AND NOW explores a terrain of paranoid industrial soundscapes - an extinction level event at the centrifuge of a particle collider that endlessly creates a vast universe. This album is a clinic in the sacred and profane, the horror and the beauty, that can only be brought to you by someone that has truly lived it.

HERE AND NOW will appeal to lovers of ONYX, CYBOTRON, WU-TANG, and the SP-1200.

Flee Lord is a proven force to be reckoned with and he continues his hot streak with this Lord Talk, Volume 2 limited edition vinyl drop. Originally released in 2018, the 8-track project also features guest appearances from Conway the Machine, Westside Gunn, CRIMEAPPLE, Meyhem Lauren, Termanology and Scott Cane. The project is fully produced by godBLESSbeatz and remains a favorite among Flee Lord’s growing fanbase. In 2020, Flee Lord pledged to release a full length album for every month of the year. Not one to let his fans down, Flee kept his promise and released 12 high quality projects in 2020, culminating with the release of the acclaimed In The Name of Prodigy album. An ode to the legacy of the late Prodigy, Flee Lord tapped in with Havoc (of Mobb Deep) to handle all of the production. Looking to keep up his momentum, Flee teamed up with Roc Marciano earlier this year and the duo dropped their collaborative Delgado album to rave reviews. With another album in the works to close out 2021, Flee Lord isn’t slowing down anytime soon, stay tuned! Lord Lord!

Joanne Shaw Taylor is a British blues rock singer/guitarist who was
discovered by Dave Stewart of The Eurythmics at the age of 16
She has released 7 albums. Her new album, The Blues Album, was recorded by
Joe Bonamassa & Josh Smith for Keeping The Blues Alive Records.
Born in the Black Country Joanne has spent a decade releasing increasingly
successful albums and touring the world. Along the way, she has won over fans
from Joe Bonamassa to Stevie Wonder to Annie Lennox. A decade ago, Joanne
moved to Detroit as her career in the States was developing. Joanne has
recorded for RUF, Sony and Silvertone with Reckless Heart and Wild both charting
in the top 20 in the UK.

Joanne Shaw Taylor is a British blues rock singer/guitarist who was
discovered by Dave Stewart of The Eurythmics at the age of 16
She has released 7 albums. Her new album, The Blues Album, was recorded by
Joe Bonamassa & Josh Smith for Keeping The Blues Alive Records.
Born in the Black Country Joanne has spent a decade releasing increasingly
successful albums and touring the world. Along the way, she has won over fans
from Joe Bonamassa to Stevie Wonder to Annie Lennox. A decade ago, Joanne
moved to Detroit as her career in the States was developing. Joanne has
recorded for RUF, Sony and Silvertone with Reckless Heart and Wild both charting
in the top 20 in the UK.

New Zealand dreampop luminaries French For Rabbits have dedicated nearly a decade to creaming warmly detailed and expansive music together. Their third, prophetic, LP The Overflow is set for release via Reckless Yes (UK), AAA Records (NZ/Aus), and A Modest Proposal (Italy) is described by the band as their most “immediate and honest” record to date. The Overflow draws on the influence of contemporary artists Laura Jean, Hannah Cohen and Hundred Waters alongside the storytelling of folk and rap music, and even references 90’s cultural touch points such as Moby, Enya and The Lion King. Whilst its inspirations are diverse-the result is a singular album that is confident in its delivery. The album follows on from their elegantly stated second LP The Weight of Melted Snow and their 2014 break-out Spirits, which received millions of streams, and song placements everywhere from the Vampire Diaries to Netflix’s Never Have I Ever TV series. On their new album, the group, led by Brooke Singer, sweeps forward with their most dazzling body of work to date-from the introverts’ anthem ‘The Outsider’ to the unfurling end-of-the-world statement piece “Nothing in my Hands”. Written and recorded mostly in 2020 in Wellington, the songs on The Overflow cover a wide range of topics, with the common threads of introversion and anxiety woven throughout. Yet, on first listen, you could be forgiven for mistaking the album’s subject matter for something lighter and more upbeat, resplendent with featherlight vocals and delicate layers

Richard Fearless follows his critically acclaimed psycho-geographical techno masterpiece ‘Deep Rave Memory’ with its companion album ‘Future Rave Memory’.

Across titanium kosmische, industrial ambience, weightless acid and dark drone, this new record is an instrument of evocative wonder and heavy emotion.

A dystopian ambient album and work of modernist meditation set firmly in an era when humanity is reckoning with its outsized place in the natural world, a process which may evoke humility, defiance, denial or despair.

In July just gone, after 8 years as a label, 36 seven-inch singles, 21 lockdown tracks, 3 samplers, 4 compilations, 2 EP’s and with only their second ever album release – Speedy Wunderground achieved their first ever Top 40 album – with ‘Busy Guy’ the third long-awaited album (14 years!) from the elusive cult singer-songwriter Stephen Fretwell. A landmark achievement, which heralded universal critical acclaim and one that proved (to those that didn’t know already) that the label was now a serious force to be reckoned with as its scope, style and reach continues to rise.

Gatefold double LP. Black Vinyl. No DL Code is out in January, 1000 copies available. Since 2006 Maybeshewill have released four full-length albums of towering, cinematic instrumental music. After a decade long career that saw them tour across four continents they bowed out in 2016 with a sold out show at London’s Koko. Having reformed briefly in 2018 at the request of The Cure’s Robert Smith for a show at Meltdown Festival, 2021 sees the band return with their first new material since 2014’s Fair Youth. Having worked on ideas separately in the intervening years, it was the sketches of music that would become ‘No Feeling is Final’ that pulled the band back together. Building on the songs that they felt needed to be heard, together. ‘No Feeling is Final’ was born from a place of weary exasperation. From the knowledge that we’re living in a world hurtling towards self-destruction. We watch as forests burn and seas rise. As the worst tendencies of humanity are championed by those in power; rage, fear, greed and apathy. We see every injustice, every conflict, every catastrophe flash up on our screens. We stay complacent and consume to forget our complicity in the structures and systems that sustain that behaviour. As the world teeters on the edge of disaster, we sigh and keep scrolling, the uneasy feeling in our stomachs eating away at us a little more each day. However easy it would be to switch off and pretend all is lost, there’s no choice but to remain engaged. To set that feeling of hopelessness aside and use the fear and frustration as fuel to make something positive. ‘No Feeling is Final’ is a message of hope and solidarity. It’s a story of growing grassroots movements across the world that are rejecting the doomed futures being sold to us, and imagining new realities based on equality and sustainability. It’s a reckoning with the demons in our histories and a promise to right the wrongs of the past. It’s a plea to take action in shaping the world we leave for future generations. It’s a simple gesture of reassurance to anyone else struggling in these troubled times: “Just keep going. No feeling is final.” Continuing and building on the self-sufficient, do-it-yourself ethos that has been core to their existence, ‘No Feeling is Final’ was once again recorded and produced by bassist Jamie Ward, and released on the bands own Robot Needs Home Collective Label, in collaboration with close friends Wax Bodega (North America), New Noise (Asia) and Birds Robe (Australasia).

Game returns after their 2019 full-length No One Wins with the Legerdemain EP. Piercing the listener with nonstop aural carnage, the EP would be an apt soundtrack to the armageddon. Part Venom, part Death Side, all live and loud, Legerdemain offers no restful moments. An instrumental masterclass with blistering drumming from Jonah Falco, weird and wonderful guitar melodies conjured up by Cal Baird, and a rumbling and decapitating buzzsaw bass by Nicky Rat, the release's finishing move is an ever-changing vocal tone by Ola H. Legerdemain can be a rewarding, or punishing, aural journey depending on your perspective. The new release, which was recorded and mixed by Jonah and mastered by extreme music legend Arthur Rizk finds Game leaning heavily into their metal influences, with sounds of early 80s UK steel given extra ferocity through the lens of Japanese hardcore punk from the same era. Having toured multiple times in Europe and North America, Game, which features members of Fucked Up, Arms Race and Violent Reaction, is equally comfortable playing to punks, metalheads and everyone in between. ‘Legerdemain’ is a magician’s term meaning sleight of hand, a key skill of deception. The term is used as a metaphor for our current post-truth society where governments, technocracies, and financial institutions use smoke and mirrors to create a farcical and bewildering existence where one cannot know if something is real or not in order to cover up social injustice and mechanisms that drive inequality. As Legerdemain progresses, one is being continually dragged along towards an apocalyptic ending on "Release", which reflects on this current predicament as a nuclear explosion approaches with nothing left to do except give into the madness. There is a constant cycle of rising again, fighting against wrongdoing, exhaustion, and endings. The lyrics in Polish, English and a sprinkle of French, represent the multinational members of the band, who feel culturally in a no man’s land, which in fact is everyone’s experience in 2021. Legerdemain tries to answer this anomie with urgent metal punk that is hauntingly relevant. Check out the music video for single "Atomowa Rekonstrukcja," from NYC punk freaks D4MT Labs here

Ask and ye shall receive! Upon receiving a bevy of positive praise for Benny Trokan's venomous salute to the (former) Cheeto©-in-Chief, "Get it in the End" (featured on the OUT-OF-PRINT long-player Wick Records: Battle of the Bands, Vol. I), we decided to offer this one up via the coveted 45rpm format.
Written in haste shortly after its inauguration, Trokan warns of a day of reckoning for the flabby orangutan. Accompanied by an infallible bassline, spicy guitar solo, and a trap kit laser light show, this verbal assault and its freakbeat je ne sais quoi is the soundtrack henceforth into oblivion. On the flip you'll find "You Don't Get Me Down", a moody, grooving, albeit hopeful companion piece that serves as a palette cleansing juxtaposition to the peppery protest. Don't sleep on this one!

Hungry for some modern melodic death metal with ridiculously catchy pop influences? Well, your dinner has just been served. This steaming nine-course setting is called "Origin" and it is honoringly brought into the table by the renowned Finnish heavy metal band Omnium Gatherum. Omnium Gatherum – OG for close friends – has been offering remarkable pieces of melodic death metal for already twenty-five shining years. While storming through these ferocious decades, Omnium Gatherum has convinced worldwide legions of heavy metal lovers by releasing unstoppable musical onslaughts and touring relentlessly all over the world. "Any sort of popularity hasn't come overnight for OG, and rising to that "next level" has sometimes taken a considerably long time, but one thing has been set in stone: progress has been inevitable. In other words: a lot of great things have happened along the way but the journey hasn't been the easiest one", says longtime singer Jukka Pelkonen. ... And recent times are no exception. Contrary to what you might think, we are not talking about a global scourge that gripped the entire world about a year and a half ago. "Although most of the things around "Origin" have been really good – we have never had so much time to compose and sharpen the material for instance –, there have been some serious roadblocks as well. This, of course, has not come as a big surprise as OG was not born under the happiest stars", laughs guitarist extraordinaire and the band founder Markus Vanhala. "Above all, our dear fans should know that since the previous studio effort "The Burning Cold" (2018), half of the band's line-up has changed. I would say quite surprisingly as we haven't really had any major problems, at least to my knowledge." "This internal turmoil lifted dark clouds into the band's vast sky and everything was falling apart... well, for a few hours at least. After that, as many times before, we decided to turn these difficulties into something better!" Before the arrival of "Origin", Omnium Gatherum's colourful discography features eight studio albums, but the newcomer does not pale in comparison. The truth is, in fact, quite the opposite... By the stylish, majestic and melodic splendor of "Origin", it really feels like the band's original style called AORDM – adult oriented death metal – has reached its peak. Well, so far... "Over the years, OG's material has been deliberately moving further away from the anxiety of the windy Northern shores and traditional melodeath's gloomy despair. These days our music is a powerful mixture of older deadly roots and newer AOR-vibes that you get while listening to Survivor and driving a Corvette along the sunny shores of Miami of us, we will not forget the original enthusiasm for playing heavy metal... And therefore we will never give up!"

After the huge northern hemisphere summer of 2019, filled with amazing events and awesome music, Avalon releases his long awaited second album 'RISE' to great critical acclaim.
Every track a story, every track a magical moment lifting dancefloors to new realms of psychedelia!
Set almost ten years apart from his classic debut album 'Distant Futures', Avalon has since climbed to dizzying heights to become one of the leading and most in-demand artists of the global Psychedelic Trance scene. Chart topping number ones have lined-up one after another between massive collaborations, two remix albums, three collaboration albums (as Killerwatts with Tristan and Future Frequency with Sonic Species) and a gigging schedule that has placed him at every major festival and music loving country possible.
'RISE' shares with us many solo productions, filled with the classic Avalon trademark elements that first garnered him so much success. Twisting and mixing-up his quintessential sounds with the newest and biggest production techniques, plus four amazing collaborations with friends and Psychedelic alumni; Tristan, Dickster, Ajja and Mad Maxx, ensured this album has become a force to be reckoned with!

'RISE' expresses an artist at full potential, utilising all he has learned from a deep dive into psychedelic music and taking things to the next level.

Get ready to Rise!!

We are very proud to now be able to offer this amazing album as a Special Limited Edition double Vinyl.