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It may have been 13 years since the last record, but Crime In Stereo are back with the announcement of its forthcoming album House & Trance, set for release on 27th October 2023 on Pure Noise Records. Lead single Hypernormalisation analyses the apathy of people in the face of their imminent demise,"The wildfires gathered themselves together, advancing enough petition signatures to force a vote on rerouting subterranean magma ducts directly into any east/west commuter corridors. Cities of water rushed in from the sea only to circle the neighbourhood for hours, stymied by alternate side parking." House & Trance feels like the natural next step for Crime In Stereo. It was entirely self-produced by the band (outside of it, both Romnes and Cioni are acclaimed and accomplished producers), and flows on so well from their past that it’s almost like the intervening decade and a bit hasn’t happened.

For 14 years Throat have been the sonic equivalent of forcing a square peg into a round hole; often abrasive, causing utmost irritation at times and on a rare occasion a feverishly pleasant dose of brooding darkness in one's otherwise dull existence. The peg now fits. We Must Leave You sees Throat dropping pegs of all shape and size through the same hole. The last confines of musical genres are behind them, resulting in an album which can be regarded as the easiest listening Throat has ever presented or simultaneously their most difficult and puzzling work to date. Thematically what we have here is a breakup album. Never ones for thinking small, Throat breaks up with the world. Enough is enough. Bring back lockdown. No need for petty social commentary on how the world is burning. Let it burn. Throat is already walking away and it remains to be seen where they end up next. If anywhere. Breakups always require dramatic music and We Must Leave You more than fits the purpose. Throat have already hinted at new directions and new sounds on their previous two albums, but here it all breaks loose. Rooted in the same heavy, dark rock sound as always, but a touch of gothic drama from the 80s has been injected to the band's sonic palette which obviously means a few deeper shades of black. The noise and dissonance remains, but this time it all has been dipped in honey and black grease paint. We Must Leave You was written over a few years time and finally recorded in 2023 at Tonehaven Recording Studio with Tom Brooke and the band's own Amplified Human Audio. Once again, Andrew Schneider mixed the album at Acre Audio and Carl Saff handled mastering duties at Saff Mastering. Photography by Dorota Brzezicka and design by Stefan Alt of Ant-Zen.

"More Than You Know," the debut album from Iceland's jazz vocal duo Silva & Steini, is a contemporary, introspective update to the classic American Songbook. Equally familiar and strange, these sparse interpretations of vintage standards are woven together with gorgeous piano, surreal Wurlitzer keyboard, tasteful bass clarinet and lush vocal harmonies.

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Montreal new-age punk outfit NOBRO were playing a show the day after the United States Supreme Court overturned the right to access an abortion in the country. The four band members, Kathryn McCaughey (vocals, bass), Karolane Carbonneau (guitars), Lisandre Bourdages (keys/percussion), and Sarah Dion (drums ) all women, were shaken and furious! But that night McCaughey led a righteous toast against the decision: “This next song is dedicated to setting our vaginas free!” Set Your Pussy Free is a caustic, celebratory, glorious party-punk firework show. It’s a record about the ecstatic pursuit of personal escape and liberation even as the walls are closing in, a 21st century power-punk analog of Born To Run that rages against modern life’s restrictive pressures and dares them to a game of chicken. If a hurricane is bearing down on NOBRO, they’re spitting into it, arm-in-arm, with middle fingers raised.

Breaking Teeth (3rd Single / Will have a music video & Reddit AMA) Breaking Teeth is the 3rd of 4 singles from their new album The Fear Of Letting Go. Tyler Tate (vox) describes this track as the heaviest song on the record and sounds simply - "pissed off". "When I wrote the lyrics I was so fed up with the world & my life in general. Set back after set back, problems around every corner. Living should be simpler but the society we live in prevents that. We should all be pissed about it.” Band will do Reddit AMA & MV Visualizer We're All Left Suffereing (2nd Single / With Album announce) 'We're All Left Suffering' is the second of four singles from Michigan based metalcore band Hollow Front's upcoming album 'The Fear Of Letting Go'. The release follows their 2022 album ‘The Price Of Dreaming’ (#9 Current Hard Music Albums, #35 Current Digital Albums, #42 Independent, # 48 Current Rock Albums) which received praise from New Noise “a blistering and bruising experience, evoking myriad emotions and conveying a heady and moving blend of euphoria and despair.” and RockNLoad “Hollow Front has dropped nothing short of a phenomenal album with The Price of Dreaming. While the release doesn’t do anything new, it takes an already established formula and polishes it into a perfect shine. If you’re a fan of any of the modern Metalcore titans, you’ll love this release, hopefully as much as I do. Utterly brilliant.” 'We're All Left Suffering' is the first song the band has released since the announce of Dakota Alvarez's departure (former guitarist/singer) and marks the next chapter in the bands journey. The song will be accompanied by a music video and lined up with the announce of their forthcoming record "The Fear Of Letting Go" (Out October 27th). Lead vocalist states “This track is an anthem for the broken spirited. We live in a world riddled with heartache and constant struggle. Whether mentally, physically, or financially; we area collective of human beings doing our best to survive. I think with everything that’s happened in the world over these last three years, things might seem hopeless. It feels like the whole world has gone mad, and we’re all just here suffering along for the ride. It can be incredibly discouraging being a human in today’s social and economic climate. So I think this song is for those people who are sick of dealing with the bullshit life is throwing at them, and just want to truly breathe for once.”

Clapton Chronicles: The Best of Eric Clapton is a compilation album featuring his hits from the 1980s and 1990s. The album was released on 12 October 1999 by the Duck / Reprise Records label. Two new songs are included on the disc, "Blue Eyes Blue" which was previously released as a single and "(I) Get Lost" which Clapton wrote for the soundtrack to the film The Story of Us.

The sixth full-length release for the Scottish indie pop band was produced by Bright Eyes' Mike Mogis. Since the band started in 1987, the Trash Can Sinatras have always been reliable. Every record has delivered exactly what people needed from them: lovely guitar pop songs done with a light touch, deep emotional feelings, and melodies as rich and warm as a late-autumn heat wave. Since their original run ended in the '90s, they've come back regularly to remind people that they are just about the best guitar pop band still going, with a new album roughly every five years or so. Wild Pendulum finds the band in fine form, expectedly. It also finds them doing a bit of sonic experimentation, unexpectedly. With former Adventures in Stereo mastermind Simon Dine on board providing the kind of ""sonic scenery"" he added to many recent Paul Weller albums and producer Mike Mogis capturing fuller arrangements than usually heard on TCS albums, it's the most sonically interesting album of their long career.

"These sides from 1970s band Smith & Gordera are prototypical for the ""Sounds Like Santana"" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

""Evil Deeds"" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

""Time and Space"" starts with a nod to the classic Dave Brubeck ""Take Five"" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side."

"These sides from 1970s band Smith & Gordera are prototypical for the ""Sounds Like Santana"" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

""Evil Deeds"" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

""Time and Space"" starts with a nod to the classic Dave Brubeck ""Take Five"" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side."

A new band that truly understands what '80s metal was.

Get ready to rock with the Cobrator! Go back to the golden age of metal with this powerful band, delivering a unique 80s feeling and plenty of head- banging fun.

With crunchy guitars, rocking basses and fierce drums, it's perfect for those who are looking for the perfect time travel to the '80s!

COBRAKILL are here to bring you the best of classic metal, with the energy of new blood.

If you are a fan of early MOTLEY CRUE, ODIN or SEDUCE, then you will be hooked on the Cobrator! An album with a total of eight songs high on heavy riffs and hard-hitting solos, "Cobrator" will be available in an ultra limited edition on vinyl LP, with all the extras that our followers are used to.

Repress! We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our recently launched Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On The Flip Side music is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn’t an option. Thus, Loving On The Flip Side again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime
genre we like to call “sweet funk.”
It seems laughable to skip past Thomas East’s “Slipping Around” 7” for the cheesy funk of ‘Just A Trip,” or to listen obsessively to Lou Ragland’s instrumental funk on the Hot Chocolate LP and ignore his indolent-yet-stirring “We Had True Love.” Yet we did just that, until we first heard the Darling Dears and Funky Heavy’s beautiful
two-sider nearly ten years back. This was the record that set Loving On The Flip Side in motion, as the Darling Dears and Funky Heavy’s two songs precipitated the sweet funk genre: the dichotomy of Funky Heavy’s skull snapping rhythm section and the teenage Dears’ angelic harmonies didn’t sound like anything we’d heard before. That discovery set off a decade long search for the band and culminated in their discovery, the documenting of their stories, the emergence of their master tapes and the inclusion of their songs on Loving On The Flip Side.
The excitement we felt while listening to the Darling Dears and Funky Heavy’s masterworks forced us back into the field, in search of other sweet funk swooners and beat-heavy ballads to round out this anthology. The opportunity to present anew such wondrous soul music made the exhaustive process that produced Loving On The
Flip Side worthwhile, and allowed us to collect one-offs that escaped prior investigations into the deep funk and sweet soul genres.

9 songs of fire, fury and angst. Some of the Songs are reflecting my personal thoughts and some songs are about family and close friends dying and / or committing suicide and some are about My Experience with the corona / sars lock downs. This is a record of real emotion and not for the weak. Nick Oliveri

9 songs of fire, fury and angst. Some of the Songs are reflecting my personal thoughts and some songs are about family and close friends dying and / or committing suicide and some are about My Experience with the corona / sars lock downs. This is a record of real emotion and not for the weak. Nick Oliveri

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Orange vinyl, 100 only

Cardiff-based, DIY-folk-pop collective, Quiet Marauder, are set to release their 5th album at the end of October 2023. This follows on from their madcap 111-song debut album, MEN (2013), as well as the more recent Tiny Men Parts (2020) and The Gift (2021), and continues their long-established relationship both with their label, Bubblewrap Collective, and Canadian collaborators, The Burning Hell.
Recorded in a Snowbird Studios pop-up in Lourinha, Portugal, Introducing Malcolm Del Monte continues the band’s fascination with high concepts and musical, album-length storytelling. At its core, it is an album about self-identity, isolation, and our innate fluctuations as human beings. Set during the pandemic, the album's a very loosely autobiographical (read: almost entirely false) account of band leader Simon M. Read's day-to-day life during Covid lockdowns with partner, Kadesha Drija, and imaginary friend, Malcolm Del Monte.
Choosing to largely avoid the topic of the pandemic altogether, Introducing Malcolm Del Monte instead charts the highs and lows of these living arrangements. These range from outrageous daytime drinking (high) to disagreements on the nature of perversion (low), with the first half of the album covering Malcolm’s emergence and ultimate expulsion from the house. With his absence being sorely felt, the second half sheds light on the alternative voices looking to fill that Malcolm-shaped space: a murderous green giant; a despondent Milk Tray Man; and a broken-necked, hypersexual Jet from Gladiators.
As with their previous story-based albums, the foreground narratives act to enable background allusions to other core concerns: the power of nostalgia; advertising and cultural consumption; well-being and isolation; balancing acts of the self. Ultimately, the album’s message is of striking a balance between self-questioning and improvement, and most of all, not being too hard on yourself when things don’t feel quite right.
Sonically and seamlessly ranging from alt-folk to industrial synth to melodic indie-pop, Introducing Malcolm Del Monte covers a lot of ground. Injected with the musicality of Quiet Marauder themselves, as well as Canadian kindred spirits, The Burning Hell, instrumentation includes flute, piano, chunky bass, acoustic and electric guitar, programmed beats, synthscapes, bamboo clarinet, bongos, and a heap load of vocals. Indeed, alongside the main lead voices of Simon M. Read, Kadesha Drija and Malcolm Del Monte (Rowan Liggett) there are guest performances from My Name Is Ian and The Burning Hell’s Mathias Kom.
The album will be preceded by lead single and video Momma Mia! I Made You Some Sangria! on 22nd September,

Warhawk takes you back to the early 80's, when Motörhead ruled the world. It's filthy, it's rocking, so he only solution was to name it philth rock! If you are into dirty rock these guys are your next gods!

It's because we want to show this quality to the world that we bring here our "Heavy Brazil" series once again. After the first two chapters, where we brought thrash legends VODU with their first two albums ("The Final Conflict" and "Seeds Of Destruction"), the time has come to present a new chapter of this series.

For all those who are fans of Brazilian thrash, KORZUS' first studio album needs no special introduction. "Sonho Maniaco" (Portuguese for 'Maniac Dream') is by all parameters a thrash metal classic! With a total of 7 songs, "Sonho Maniaco" has everything you'd expect from an 80's thrash album: speed, aggression and a good dose of insanity!

Originally released in 1987 and being a highly sought after record by collectors, it is with great pleasure that we bring you the first vinyl reissue of "Sonho Maniaco"!

Get ready for another ultra- limited edition by our label, with all the extras our followers are used to.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."