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What eventually became Buzz, the third studio album by singer-songwriter NIKI, started with an urgent quake from the innermost core of her being. Her songwriting remains as intimate as ever and Buzz
reverberates with the hard-earned wisdom of a young woman who charges dauntlessly towards her dreams — but can still spare a laugh if she stumbles.

Return To Disorder welcomes Evighet Records label head Marco Bruno for some brilliantly controlled sonic chaos on this new electro exploration. His Sharp Focus EP brings together ambient, breaks and techno to snappy electro rhythms of the sort that he has already showcased in style on labels such as Blueprint Records and Machine. This one opens with the sleek, future-facing and speedy sounds of 'Storyteller' before 'Values Over Ego' gets more textured and raw with knick-snapping hits and prying synth lines making for real turbulence. 'Twist Of Fate' is a jungle workout that ducks and dives on warped bass and 'Karmic Pattern' is a slow but textural and intense closer with rueful chords.

Ein allumfassender akustischer Angriff, eine Kraft, die so unaufhaltsam und lebendig ist wie die Flut. Das Post-Rock-Kraftpaket AND SO I WATCH YOU FROM AFAR kehrt mit seinem 7. Studioalbum ,Megafauna" zurück. Studioalbum "Megafauna" zurück. Das neue Album ist eine eigenwillige Erkundung und eine von Herzen kommende Würdigung mit der ganzen Intuition, Intimität und dem Humor von vier festen Freunden, die sich ihrem 20-jährigen Bandbestehen nähern. Die Absicht hinter "Megafauna" ist von Anfang an klar. Zwei Gitarren, ein Bass und ein Schlagzeug, allesamt in einer Woche aufgenommen, erwachen in einem Endorphinrausch der Zusammenarbeit und des Miteinanders nach der physischen und psychischen Wildnis der Isolation zu überschäumendem Leben. Die Leadsingle "Do Mór" ist eine absurd verspielte Kollision aus unbeschwerten Gitarrenhooks, mühelosen Jazz-Synkopen und der triumphalen Rückkehr von ASIWYFAs unnachahmlicher Wall-of-Sound-Verzerrung, während der Eröffnungstrack "North Coast Megafauna" als Hymne für das gesamte Album und vielleicht auch für eine wiedererstarkte Band dient, die die freudig-schockierende Konfrontation ihres Sounds stolz auf ihren Ärmeln trägt. An anderer Stelle stehen Introspektion und düstere Sentimentalität im Mittelpunkt, wobei das Downtempo-Stück "Years Ago" eine bemerkenswerte dynamische Tiefe bietet. "Megafauna" ist das erste neue Werk der Band seitdem von der Kritik hochgelobten, aber nur sehr limitiert veröffentlichten "Jettison" aus dem Jahr 2022, ein ambitioniertes Multimedia-Ensemblewerk voller Experimente mit Gästen. Gitarrist Niall Keenedy bezeichnete "Jettison" scherzhaft als "das reife Album" der Band und umrahmte das Schreiben von "Megafauna" mit dem langjährigen Mantra der Band "DO THE SCARY THING", das sie ständig auf das Neue, den Fortschritt, die Evolution und das Unbekannte zusteuern lässt. Während die neue Platte ASIWYFA in einer vertrauteren, traditionellen Form zeigt, ist "Megafauna" in dieser Post-"Jettison"- und Post-Pandemie-Welt eine ohrenbetäubende und trotzige Absichtserklärung des treibenden Kerns der Band, die Zusammengehörigkeit statt Trennung zelebriert. Übrigens, das klasse "Jettison" jetzt auch wiederveröffentlicht!

Ein allumfassender akustischer Angriff, eine Kraft, die so unaufhaltsam und lebendig ist wie die Flut. Das Post-Rock-Kraftpaket AND SO I WATCH YOU FROM AFAR kehrt mit seinem 7. Studioalbum ,Megafauna" zurück. Studioalbum "Megafauna" zurück. Das neue Album ist eine eigenwillige Erkundung und eine von Herzen kommende Würdigung mit der ganzen Intuition, Intimität und dem Humor von vier festen Freunden, die sich ihrem 20-jährigen Bandbestehen nähern. Die Absicht hinter "Megafauna" ist von Anfang an klar. Zwei Gitarren, ein Bass und ein Schlagzeug, allesamt in einer Woche aufgenommen, erwachen in einem Endorphinrausch der Zusammenarbeit und des Miteinanders nach der physischen und psychischen Wildnis der Isolation zu überschäumendem Leben. Die Leadsingle "Do Mór" ist eine absurd verspielte Kollision aus unbeschwerten Gitarrenhooks, mühelosen Jazz-Synkopen und der triumphalen Rückkehr von ASIWYFAs unnachahmlicher Wall-of-Sound-Verzerrung, während der Eröffnungstrack "North Coast Megafauna" als Hymne für das gesamte Album und vielleicht auch für eine wiedererstarkte Band dient, die die freudig-schockierende Konfrontation ihres Sounds stolz auf ihren Ärmeln trägt. An anderer Stelle stehen Introspektion und düstere Sentimentalität im Mittelpunkt, wobei das Downtempo-Stück "Years Ago" eine bemerkenswerte dynamische Tiefe bietet. "Megafauna" ist das erste neue Werk der Band seitdem von der Kritik hochgelobten, aber nur sehr limitiert veröffentlichten "Jettison" aus dem Jahr 2022, ein ambitioniertes Multimedia-Ensemblewerk voller Experimente mit Gästen. Gitarrist Niall Keenedy bezeichnete "Jettison" scherzhaft als "das reife Album" der Band und umrahmte das Schreiben von "Megafauna" mit dem langjährigen Mantra der Band "DO THE SCARY THING", das sie ständig auf das Neue, den Fortschritt, die Evolution und das Unbekannte zusteuern lässt. Während die neue Platte ASIWYFA in einer vertrauteren, traditionellen Form zeigt, ist "Megafauna" in dieser Post-"Jettison"- und Post-Pandemie-Welt eine ohrenbetäubende und trotzige Absichtserklärung des treibenden Kerns der Band, die Zusammengehörigkeit statt Trennung zelebriert. Übrigens, das klasse "Jettison" jetzt auch wiederveröffentlicht!

Die britischen Hardrocker Doomsday Outlaw präsentieren ihre beiden Alben "Suffer More" (2016, Frontiers) und "Hard Times" (2018, Frontiers) in neu abgemischten, remasterten REDUX-Versionen, betreut von Dave Draper (The Wildhearts, Terrorvision). Zwei Alben vollgepackt mit ihrem typischen Sabbath-meets-Clutch-Riffing, gepaart mit gefühlvollen Vocals, die Geschichten von Herzschmerz und Erlösung erzählen. "Suffer More" erscheint erstmals auf Vinyl, "Hard Times" enthält einen vorher Japan-exklusiven Bonustrack. Mit neuem Artwork und ausführlichen Linernotes von Mike Hayes (Cheap Trick). Remixed. Remastered. Reborn. Redux.

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Are you a mannequin in the eyes of your beloved? Does your partner compare your relationship to a factory that emits plumes of smoke? Are you in love with a seductive and destructive Credit Default Swap? Someone who sucks you in with skyrocketing short term erotic returns - only to ghost you until you crash so hard that you end up broke(n) in your own bed? Do you pay $300 an hour out of pocket to a psychiatrist who promises to help you strike a deal with a difcult parent - one that will produce more stable long term returns on your psychic investments? If so, then you, my friend, may be drowning in the sea of Love in the Time of Capital. It's where everyone would love to drown. It's a new album from John Davis of The Folk Implosion that fnds him backed with confdence by Eli Moore and Andrew Dorsett of the indie pop band Lake. It was recorded by Nich Wilbur at the Unknown, a cavernous recording studio in Anacortes, WA that has been a favorite destination for indie rockers around the nation. Ben Brodin recorded Megan Siebe playing strings on two tracks at his Hidden Branch studio in Omaha, and the album was mixed by Scott Solter in Durham NC. Arrangements are based on the classic power pop trio of drums, bass and electric guitar. Those elements are tastefully embellished with organs and pianos that call to mind records by classic rock bands like Tom Petty's Heartbreakers. That is, if the Heartbreakers were fltered through the Northwestern International Pop Underground tradition, and cast a critical eye on how commodity culture shapes the way we think of ourselves and our intimate relationships. The album also features four ballads, three drum and electric guitar free, for all you late night introspective heads.

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

On 9 August, 2024, Merge Records reissues David Kilgour's A Feather in the Engine, remastered and pressed on vinyl for the very first time. Originally released in 2002, A Feather in the Engine followed two full-band efforts_1997's David Kilgour & the Heavy Eights and The Clean's 2001 album Getaway_and is thus almost startling in its intimacy. Recorded at home and mostly alone (The Verlaines' Graeme Downes provides lush string arrangements), Kilgour once called A Feather in the Engine "the most solo LP I've made." Interpolating his genius for guitar pop through acoustic guitars and gorgeous instrumentals, its melodies unfold gently, suggesting that the 13 songs here, written over the course of four years, were searching Kilgour as much as he was searching them. The dichotomy between A Feather in the Engine's pop songs and instrumentals fascinates the ear, drawing the listener closer and closer to Kilgour's virtuosic guitar playing when his lyrics aren't imparting his breezy charm. The depth of style he achieves_the psych pop of "Today Is Gonna Be Mine," the Velvet Underground-esque churn of "All the Rest," the chamber folk of "The Perfect Watch"_is daunting; listening to it now, every song feels capable of generating a dozen playlists, or like the spawning point of a new microgenre. Perhaps anomalous upon release, it's A Feather in the Engine's instrumentals that feel weightiest in this regard now. "Sept. 98" and "Backwards Forwards," respectively the opening and closing tracks of the album, are elegant, pastoral epics that call out into the yawning expanse, presaging the simmering ambient country of William Tyler and SUSS, while "Instra 2" pushes out the boundaries of Eastern-influenced psychedelia. Lovingly remastered (and in some cases remixed) from the original tapes by Tom Bell at Port Chalmers Recording Services, the vinyl reissue of A Feather in the Engine is a crucial opportunity to rediscover one of David Kilgour's best records, a handcrafted gem that perfects guitar pop's past while pointing to its future, idiosyncratic in its making and tantalizing in its potential. There is good reason for David Kilgour to be your favorite musician's favorite musician. A Feather in the Engine is good reason for him to become yours.

Norway's progressive sludge masters are about to release the sequel to their highly acclaimed debut album "Animist". The upcoming release, "Determinist", will hit fans of The Ocean, Mastodon, and Igorr right in the face. With expanded diversity, heavier and more of the good stuff - Just the right kind of heavy! The new album takes the listener out of the prehistoric world from "Animist" and into the current and future era of determinism: Humanity has left the world of mysteries, wonders, and chance. In a reality where all is calculated, analyzed, and predetermined, humans thrive on scientific progress, but at what cost? If everything is certain, humans have deprived themselves of the illusion of free will and the wonders of life. Octohawk's sophomore album, Determinist, is a synopsis of the deterministic era, from the humble experimental beginnings to the complete coalescence with ever-flowing information. Each of the seven tracks represents the significant stages in this endeavor, from man on the ground to being a part of the eternal stream.

Dark Horse Records is proud to release a very limited pressing of Nina Simone’s debut studio album Little Girl Blue, celebrating the album’s 65th anniversary. Originally released in February 1959, Dark Horse’s limited pink vinyl reissue includes a 12x12 insert with an introduction written by Dhani Harrison. Little Girl Blue includes some of Simone’s best-known tracks, including "My Baby Just Cares for Me" and “I Loves You, Porgy,” and even at this early stage in her career, listeners can hear the profound impact she would have on the musical landscape in the ensuing decades.

This ambitious production represents Aexhy's vision of a dazzling state of modern hardcore - literally a world full of dreams. Enter this unique adventure and discover the intricate 'heart-core' futuristic interpretation of new rave-style music.
The concept features Laze and H369, with additional remixes by Paul Seul, PAX, and vp allowed, making the project even more brilliant and valuable.

Hardwood Vinyl. Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest moments in 90's alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020.Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

One look at the axe-wielding marauder (drawn by famed heavy metal illustrator Edward Repka) on the front of this album and you know it’s not for the faint of heart. Canadian metal band 3 Inches of Blood’s musical attack (an appropriate term indeed) featured a unique, dual lead vocal line-up of Cam Pipes on “clean” vocals and Jamie Hooper on “screaming” vocals, with bludgeoning guitars (okay, axes) provided by Sunny Dhak and Bobby Froese (Dhak, Froese, and drummer Matt Wood left after this album to form Pride Tiger). Though this record came out in 2004 on the Roadrunner label, it wears its ‘80s metal allegiances on its sleeve, harkening back to the vein-popping intensity of vintage Judas Priest and Accept. Remastered on its 20th anniversary for an orange and black “ashen dawn” vinyl pressing, with a full-color inner sleeve sporting lyrics. Storm the castle!

How could Canadian heavy metal band 3 Inches of Blood dial up the intensity even more after their 2004 masterpiece Advance and Vanquish? Well, by bringing in Slipknot drummer Jordy Jordison to produce their next record, and adding a new instrumental line-up of former Allfather lead guitarist Justin Hagberg and former Walls of Jericho drummer Alexei Rodriguez to the band’s unique dual vocalist assault of Cam Pipes on “clean” vocals and Jamie Hooper on “scream” vocals. The result was 2007’s Fire Up the Blades, which, as Hooper put it, was “a faster, more intense version of us.” Which means that albums don’t get any faster and more intense than this one; that the epic lyrics are good enough to have been penned by George R.R. Martin of Game of Thrones fame is just a bonus. Speaking of bonus, for the vinyl debut of Fire Up the Blades (and after consulting the band) we’ve upped the stakes with a 2-LP release featuring an entire side of extra tracks that were released right around the time the album was, including their cover of the Lucifer’s Friend song “In the Time of Job When Mammon Was a Yippie.” All pressed in “Crimson Fire” vinyl housed inside a gatefold jacket with lyrics…limited to 1250 ferocious copies!

"Waxwork Records, in conjunction with Hollywood Records and Paramount Pictures, is thrilled to present SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman for the very first time on vinyl! SLEEPY HOLLOW is a 1999 gothic supernatural horror film directed by Tim Burton and starring Johnny Depp, Christina Ricci, and Christopher Walken. It is based loosely on Washington Irving’s 1820 short story “The Legend of Sleepy Hollow”. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.

Danny Elfman is an award winning American film composer, singer, and songwriter. He has garnered international recognition for composing over 100 feature film scores. Elfman is a longtime collaborator of director Tim Burton having scored such films as Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas.

Sleepy Hollow stands as one of Elfman’s largest orchestral scores and utilizes weighty brass, eerie choral pieces, and unnerving strings. His use of romantic themes cut a calming tone throughout the dark and mysterious gothic-fairy-tale.

Waxwork Records is proud to present the debut vinyl release of SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman as a deluxe double LP album. Album features include 150 gram colored vinyl (Metallic Silver and Blood Red Swirl), new artwork by Steven Reeves, heavyweight gatefold jackets with matte satin coating and spot UV gloss varnish, and a 11”x11” art print."

"Fucked Up formed in 2001 in Toronto, Canada. Meeting each other through the local diy hardcore punk scene they developed a cult following early on which blossomed into a long career of releasing genre expanding music.

""Another Day"" is their 7th full length album, they have released over 60 7” singles, countless hours of open-format guitar music, and toured consistently all over the world since early in their career.

Their first three LPs, “Hidden World,” “the chemistry of common life,” and “David Comes to Life” have all been canonised as classic, critically acclaimed, genre defining efforts. The three to follow, “Glass Boys,” “Dose Your Dreams,” and “One Day” have challenged expectations in scope, style, and delivery, the latter which was written and recorded within the span of 24 hours.

Alongside their LPs, the band have been releasing their more experimental “Zodiac” series since 2006. Fucked Up have released 9 12”s of compositional, genre-less, long format songs (20mins plus) corresponding to the Chinese Zodiac, diving ever deeper into narrative forms including a 4 act opera (year of the horse), a musical palindrome (“onno”).

Fucked Up has toured the world extensively and under extraordinary circumstances – a vegetable oil powered school bus through the mountains of the American West Coast, a literal slow boat to China across the sea of Japan, and of course a humble van on any highway that will have them – and bring the same idiosyncrasy to the stage that they do to their records."

Not everybody has not one, not two, but twelve producers attached to her debut release. Not everybody has her one and only album pranked by British artist Banksy (who substituted a topless photo for the cover). Nope, not everybody is Paris Hilton, who has lived in the public eye since, well, forever. She first announced plans to make an album in 2003, during her run on the reality TV series The Simple Life.

Originally entitled Screwed, and then Paris Is Burning, the record—finally simply entitled Paris—came out in 2006. And it was…uh… good? Yeah, for real. This record goes expensively pedicured cuticle to cuticle with anything Britney Spears, Jessica Simpson or any other pop culture chanteuse of the like ever put out, and the Paris the heiress displays some real savvy both in her taste of material and the Madonna-like manipulation of her sex symbol image. And her voice? Definitely respectable despite what the haters said. Indeed, the single “Stars Are Blind” went top 20, and the album itself went all the way up to #6, selling over 600,000 copies worldwide.

Since Paris has finally answered the pleas of her fans and made a second album, we thought the time was right for a revival of Paris, so we’ve taken the fetching photos from the CD package and given them plenty of acreage to show their stuff, with a gatefold jacket and 4-color printed inner sleeve. And for this release, we’re pressing Paris’ album in her favorite color, pink…and of course it’s hot! A pop culture keepsake from an enduring pop culture icon!

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!