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"You're traveling through another dimension - a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination". This iconic introduction is from Rod Serling's timeless and influential television program, The Twilight Zone. Perhaps he would also apply this description to Can Con, the debut album by The Psych Fi's. The group is an offshoot of Canadian singer-songwriter Jerry Leger's rock 'n' roll side project, The Del Fi's. Just as The Psych Fi's describe themselves as "spontaneous psychedelic rock", The Del Fi's recorded two albums characterized by spontaneity, spirit, and trust. This time Leger brings his songs to a revolving door of musicians and singers (18 members, including Jerry, in the case of Can Con). Most of the performers have not heard these compositions before recording them. They have no chance to second-guess; they must be fearless and jump in with both feet and perform live in studio. Leger acts as a sort of loose conductor, allowing certain soloists to emerge from the musical collage. The group takes you on a hypnotic journey from the epic opening medley "Alone in a Room of Mirrors / James Cagney" to the groove of "You Know that I Love You, I Do" and the openness of "Song for Vultures". You'll get lost in "Summer's Right Around the Corner", which also features Don Stevenson (founding member of the legendary 60s psychedelic rock band Moby Grape) on backing vocals, alongside Kate Boothman (Katie Cruel) and Angie Hilts. This sound has evolved out of Del Fi performances, specifically when musicians Nichol Robertson, Jason Kenemy, Dave Clark (The Rheostatics, Woodshed Orchestra), and Michael Eckert were involved. Leger and these "Fi's" eagerly ventured down less-traveled roads to destinations unknown. Other Psych Fi's include Ken Yoshioka, Matthew Cooke, Les Armstrong, Chris Bennett, Shawn Clarke, Katie Methot, and members of "Jerry Leger & The Situation" (Dan Mock, Kyle Sullivan, Alan Zemaitis). Leger tells us at the...

In August 1982, Limbo District—percussionist Jerry Ayers, vocalist Craig Woodall, bass player Davey Stevenson, Farfisa player and vocalist Dominique Amet, and guitarist Tim Lacy—traveled from Athens, GA to Winston-Salem, NC to record at Mitch Easter’s Drive-In Studio. The session took place just two months after fellow Athens band R.E.M. had gone there to record their debut Chronic Town EP.

With Easter, Limbo District recorded a five-song set of bewitching rhythms and guttural poetry, chants, and howls that culminated in a Dionysian, avant-garde pulse.

These songs later accompanied photographer Marlys Cox’s images brought to life in Jim Herbert’s experimental film, “Carnival.” Aside from the few seconds of “Carnival” that appeared in Tony Gayton’s documentary “Athens, GA: Inside/Out,” Limbo District has remained unheard by anyone who wasn’t there to witness the band's powerful blend of music and performance art as it happened.

Carnival offers a glimpse behind the curtain, revealing a contemporary of the B-52’s, Pylon, R.E.M., the Method Actors, Love Tractor, and more, and presents a thread to unravel a perfect mystery.

Limbo District’s significance is matched only by its obscurity, and the complete Mitch Easter session has remained unreleased until now.

"When I moved to Georgia in 1991, the only Athens band I was looking for was Limbo District. For decades, I remained empty handed. And now, the crown jewel of the Limbo story is unearthed: Carnival. Chunklet is proud to have excavated this apparition and it is now time to celebrate the band's delirious, cryptic and in-the-moment existence. Behold: Limbo District!"—Henry Owings, Chunklet Industries

“It was exactly the kind of thing that I wanted to be doing. … Limbo District stood tall as being absolutely their own thing, and not remotely concerned with commercial music at all. Still, the songs were catchy.”—Mitch Easter (original producer, owner of Drive-In Studio, Let’s Active)

“Everything about Limbo District is kind of a surprise. Their music is its own category. What struck me was the uniqueness of it. In a college town music scene, there are so many creative young people who tend to wear their influences on their sleeve. Limbo District's music is not easily pegged.”—David Barbe (2023 producer, Chase Park owner, Mercyland)

“Michael Stipe championed Limbo District because he connected with Jerry. They were such close friends back in those early days. He helped Michael see a vision for himself that he would not have seen on his own, and things wouldn't have been the same for R.E.M.”—Lady Clare Butler, The Now Explosion

RSD First, Limitation: 1000

Native American guitarist Jesse Ed Davis was the “go-to” guy for a remarkable group of musicians. Starting in the mid-‘60s, he toured with Conway Twitty, then became a key part of Taj Mahal’s band, playing on several albums and tours including an appearance in The Rolling Stones Rock and Roll Circus, and, perhaps most famously, accompanied George Harrison during the Concert for Bangladesh, followed by work on various solo albums by John Lennon, Ringo Starr, Gene Clark, Leonard Cohen, and Jackson Browne (that’s Jesse taking the solo on his 1972 breakout hit “Doctor My Eyes”).
All this activity caught the eye of ATCO Records, who released his debut LP Jesse Davis in 1971. The album featured Leon Russell, Eric Clapton, Gram Parsons, Merry Clayton, Ben Sidran, John Simon (producer of The Band), Alan White (of Yes), and many others including Delaney Bramlett behind the mixing desk. A year later, Atco released Ululu containing some of the same all-stars, plus Duck Dunn, Jim Keltner, and Dr. John – and a version of George Harrison’s “Sue Me, Sue You Blues” before even George recorded it.
Of late, there’s been something of a Jesse Ed Davis revival. Besides Real Gone Records releases, Davis was a major figure in the documentary Rumble: The Indians Who Rocked the World…and now this fall comes a full-fledged biography, Washita Love Child: The Life and Times of Jesse Ed Davis, by Dr. Douglas Miller.
To honor the man and the occasion of the book’s release (and to slake guitar-heads the world over thirsting for more tasty Jesse Ed licks), Real Gone Music releases Tomorrow May Not Be Your Day: The Unissued Atco Recordings 1970-1971, a double-LP collection consisting of, as the title says, all unreleased recordings taken from Jesse’s sessions for his two Atco solo records. Along the way you’ll find completely unreleased songs (“Slinky Jam”), unexpected covers of “Ain’t No Beatle,” “Kansas City,” and “Tracks of My Tears,” unissued instrumentals (including a version of Dylan’s “Love Minus Zero/No Limit”), and an entire side featuring alternate versions of Jesse’s masterpiece, “Washita Love Child.”
Remastered by Mike Milchner at Sonic Vision, and featuring notes by Dr. Miller festooned by photos contributed by Jesse’s son William “Billy” Noriega, Tomorrow May Not Be Your Day: The Unissued Atco Recordings 1970-1971 represents a major archival find from one of rock’s most intriguing characters, out on Cobalt “Blue Jean” vinyl limited to 1500 copies worldwide.

Why you'll love it...
Discovered by Shelby Singleton, Jeannie C. Riley rose to fame upon recording Tom T. Hall's "Harper Valley P.T.A." The track (which was recorded live in two takes) shot to #1 on the Country and Pop charts in 1968, making the crossover hit singer the first woman to hold the spots simultaneously. Remastered in mono from the original tapes, this deluxe version includes an additional Clark Bentley track, "Yesterday All Day Long."

Limited to 1000 copies, the VMP exclusive edition of Jeannie C. Reilly's Harper Valley P.T.A. is pressed on Opaque Green vinyl at Softwax Record Pressing. The 1LP mono remaster will arrive in a single, direct-to-board jacket.

After the success and lasting impact of their debut 2022 full-length, Where The Shadows Adorn, Indianapolis melodic death-doom purveyors Mother Of Graves return to the surface with a new and prolific dose of melancholy. The Periapt Of Absence, set to be unleashed by the esteemed Profound Lore Records, serves as a testament to Mother of Graves' evolutionary journey and steadfast dedication to crafting their profoundly personal and enthralling rendition of death-doom metal. Highlighted by Brandon Howe's soul crushing and poetic vocals, this offering transcends boundaries, delving even deeper into realms of melancholy and introspection than their past offerings. The album expands on the band's engrossing atmospheres, crushing passages that shine light on their death metal roots, monumental hooks, and melodies that will resonate for years to come. The pulverizing production, provided by the band's Ben Sandman with dynamic mastering by the legend Dan Swanö, amplifies the monumental rhythm section anchored by Don Curtis on drums and Corey Clark on bass, while illuminating the intricate guitar harmonies skillfully woven by guitarists Sandman and Chris Morrison. The Periapt Of Absence is without a doubt Mother Of Graves' most in depth and significant material to date. Each song provides a poignant exploration of the human experience, where moments of despair are illuminated by glimmers of hope and fleeting beauty. Through eight cathartic tales of heartache, love, and loss, Mother Of Graves beckons one to delve deep into the recesses of their dark and gloomy world.

"Cassyette is the future face of alternative” – Kerrang!

“Cassyette is not an artist anyone can hope to pin down and box up: she’s shown she can do it all” – NME

“A modern rock staple in the making” – GAY TIMES

“Unashamedly illicit and unapologetically raw, Cassyette is here to relight rock” – TMRW

Cassyette has had an incredible start to 2024 with the release of lead singles ‘Why Am I Like this?’ and ‘Ipecac’, and a huge support slot on Bring Me The Horizon’s UK arena tour. Ahead of her own UK and European headline tour, Cassyette has shared the raw and powerful new single ‘When She Told Me’. Pairing painfully beautiful lyrics with her signature screams and a heavy instrumental, the haunting track recalls the heartbreaking moment Cassyette learnt of her father’s passing and the grief that consumed her afterwards.

Cassyette has amassed a cult social following with over 134k Instagram followers, 550k monthly Spotify listeners, and over 1.2million followers on TikTok. Having achieved over 38 million streams on Spotify alone and ongoing editorial support from Spotify and Apple, Cassyette has received praise from the likes of Radio 1’s Jack Saunders and Clara Amfo (Hottest Record In The World), Kerrang!, NME, GAY TIMES, MTV and Amazon Music UK. Cassyette was also awarded ‘Best British Breakthrough’ artist at the 2022 Heavy Music Awards. 2023 highlights include gracing the cover of Kerrang!, becoming the first featured artist for TikTok’s Rock Hub and performing at Glastonbury

Between April and July 1974 King Crimson embarked on a tour of Canada and America which has come to be recognised as one of the most powerful series of concerts performed not just by Fripp, Cross, Wetton and Bruford but by any band of the era. The band, who had been rarely off the road - except to record studio albums - chose to perform a selection of recent material from the then newly released Starless And Bible Black, older fan favourites, newly written/then unrecorded material & nightly improvisations at a level described by many eye-witnesses and observers as “the most intense” gigs they’d ever attended. A single live LP “usa” was issued in 1975, a year after the band split but failed to convey the full extent of how ferocious a beast King Crimson was in full-flight. No other band blended powerful rock with an ability to turn in epic improvisations of immense subtlety or strength. Many of the shows on this final tour had been recorded, either professionally to multi-track tape, or on the band’s stereo cassette feed from the mixing desk. These remained unheard until 1992 when selected highlights were released in 1992 on the 4 CD boxed set, The Great Deceiver. Now The Road To Red offers a comprehensive overview of this final tour and at last does justice to a group who were operating at the very height of their powers. Every soundboard quality recording known to exist is presented with audio fully restored, all released on CD for the first time. There are also five complete concerts, drawn from multi-track recordings, alongside the restored audio bootleg of the band’s final show from New York and a new stereo mix of “Red” by Robert Fripp and Steven Wilson undertaken in 2012. A total of 16 concerts are featured across 20 discs, with the studio “Red” as the 21st CD.

Maxwell Stern released his debut solo album "Impossible Sum" on Lauren Records in 2020 and the "Teeth of a Key" 7" EP in 2021, and followed them up with his long-running band Signals Midwest's "dent" LP in April of 2022. Having spent the last two years touring the world in various musical con gurations, Max is currently gearing up to release a new solo LP this summer. Recorded in Philadelphia by Andy Clarke (The Wonder Years, Spirit of the Beehive) and featuring an all-star cast of characters, the album lands somewhere between the hyper-focused pop-twang of Petty at his early '90s peak and the dense, blooming later-period outputs of beloved early-aughts emo-indie greats à la The Weakerthans and Jets to Brazil.

Fronted by vocalist/guitarist Taylor Madison, and with Jake Clarke on drumsand Mike Paulshock on bass, Webbed Wing cement their place in modernrock supremacy across 10 tracks of fuzzed-out pop nostalgia on new albumVol III. One impossibly-catchy anthem after another, loaded with Madison'ssignature sardonic wit, makes for one of the most exciting alternative rockrecords of the year. Taking notes from the likes of The Lemonheads andTeenage Fanclub, "Further" opens Webbed Wing's new album Vol. III witha bang--in less than 10 seconds, we're all the way in with Webbed Wingas they expertly intertwine the vibrancy of modern pop, the heaviness ofgrunge, and the sincerity of country. Brazen and self-deprecating, "Burn ItDown" finds Madison unpacking what it means to fly too close to the sun.Its mid-tempo mastery is a testament to the trio's connection as musiciansand friends; everything about this song just works. Drawing inspiration frombig country ballads and shoegaze gems alike, the song shows off a differentside of what listeners can expect from Vol. III.

Noelle & The Deserters bring South-Western honky tonk and songs of heartbreak from the high deserts of New Mexico to the golden hills of California. Fronted by singer-songwriter Noelle Fiore, their music draws inspiration from the likes of Emmylou Harris, Loretta Lynn, Marty Robbins, J.J Cale, Gene Clark, Townes Van Zandt, and the great outlaw country players. The Deserters include seasoned players Graham Norwood (Bryan Scary, Graham Norwood) on guitar, Alicia Vanden Heuvel (The Aislers Set) on bass, David Cuetter (Tarnation) on pedal steel, and Jerry Fiore (Sonic Love Affair)on drums, all based in the Bay Area and Sacramento. Fiore was raised in Taos, New Mexico. As a guitar player and vocalist, she was a founding member of Sweet Chariot, singing and playing guitar / banjo. Later, she and Tim Cohen (The Fresh & Onlys) founded the band Magic Trick, recording four full length albums for labels Hardly Art and Captured Tracks. Fiore is also a current member of the Shannon Shaw Band, on guitar and vocals.

High Desert Daydream is Noelle & The Deserters debut album, out on Speakeasy Studios SF. The songs on the album, written by Fiore, touch on life in the west, growing up in Taos, living in California, songs of love, memory, marriage, work, good times, and bad times. Like all classic country music, the songs are infused with a sense of real-life struggles and living life in the everyday. Fiore’s incredible voice carries the album, and her songs are at once moving, powerful, tender, humorous, and intimately relatable.

Produced by Noelle Fiore and Alicia Vanden Heuvel, High Desert Daydream feels country, yet of the west, of California and New Mexico, of experimental fronts in country music, and is truly a work of beauty.

The Caledonian Dream is a supergroup from Glasgow, Scotland. They bring you the single, "Shot at Glory", a rousing terrace anthem that will surely help the Scotland National Football Team win their Euro 2024 campaign in Germany. Tired of the dirge that is our sporting national anthem, "Flower of Scotland" by The Corries, and the depressing, negative tone of Scotland's previous official World Cup song, Del Amitri's "Don't Come Home Too Soon", three old friends - John 'Sponi' Murray, Dave Clark & Bruce Jolliffe - made the decision to shake things up with a stomper to get the national blood pumping again. They took to the studio, melded proud lyrics, conquering beats, and tear-jerking pipes to produce what surely should be Thee Scottish football song for AT Least the next 200 years - our very own trophy-lifting soundtrack. Now the boys hope the tune will go viral, go mental - so please share it FAR AND Wide!

A veritable institution of British folk, Fairport Convention has been going strong since the mid-1960s. Double album "Live At Rock City" is chock full of winners: along with strong adaptations of "John Barleycorn" and "Reynard The Fox" there are top tracks from "Expletive Delighted", including "Three Left Feet", "Sigh Beg Sigh Mor", "Portmeirion" and "Sack The Juggler". There's beautiful symmetry between Dave Pegg's mandolin and Martin Allcock's bouzouki; Ric Sanders raises the roof on electric violin, Dave Mattacks' drums are quietly steady and Simon Nicol's guitar and voice completes the picture. A must for all Fairport fans!

Those who have had the opportunity to see Bobby Gonzales Trio live, you will have noticed the power, energy and versatility of his forceful live performance. Bobby Gonzales, leader, vocalist and guitarist of the band, reviews his musical career with bands like Coronados and Trash-Tornadoes bringing sparks to their Gretsch and his Fender amp and delighting everyone those who want to see this six-string virtuoso and one of the banners of rockabilly-psychobilly-swing still active. If it's the first time he visits you, don't you should miss the opportunity to see him live!

The two albums multi-instrumentalist/songwriter John Hartford cut for Warner Bros. in the early ‘70s, Aereo-Plain and Morning Bugle, shook the bluegrass genre to the core, adding a modern, irreverent sensibility and fresh repertoire to the tradition-bound style. We have already (twice) reissued Aereo-Plain on LP, but we waited on Morning Bugle because we had something special up our sleeve—namely, the original session tapes! Which means that not only are you getting (with the full consent of the Hartford estate) a new remix and remaster of the original album—which even Hartford devotees admit never sounded that good on the production side of things—but an entire disc of unreleased tracks! Hartford scholar Skip Heller supplies liner notes to this monumental find on the enclosed insert. This 2-lp Expanded Edition comes on forest green vinyl, limited to 1500 copies worldwide, exclusive to Record Store Day 2024!

Ellie Bleach returns with her sophomore EP Now Leaving West Feldwood via tastemaker label Sad Club Records (Clara Mann / John Myrtle).

Set within the fictional town of West Feldwood, the EP explores the lives of an anthology of residents – with each track told from the perspective of a different character. As the final sixth track concludes the story, it sheds light on a sinister undercurrent as West Feldwood meets an unfortunate end. Ellie adds, “this EP is taking my world building to the next level. All of the town's residents are lonely, misunderstood and dissatisfied, but ironically all unaware of their impending demise.”

With a penchant for cinematic storytelling, Ellie Bleach’s wry wit and esoteric lyrical style harbours a biting cynicism that examines the strange eccentricities of modern life. Pulling from the world-building mastery of Ethel Cain and the charismatic showmanship of Cmat, her music soundtracks a rotating cast of lonely misunderstood people that exist within suburbia.

A grandiose EP with flawless lyricism, Now Leaving West Feldwood is a show stopping storyline propelled through Ellie Bleach’s compelling narrative wit. Vinyl includes EP tracklist on Side A, with Side B containing previously released hits ‘Leave Me Alone’ & ‘I Thought I Saw You Last Night’ as well as an unreleased balladic demo version of ‘Doing Really Well Thanks’.

4 track 7” on green vinyl . Individual hand painted sleeves. Limited to 500 copies worldwide. Includes poster.

Part of the Optic Sevens 5.0 Reissue Series.

Originally released in 1986 on Australian label Voyeur Records.

This is the first time that the single has been released in the UK.

Even As We Speak is an indie band from Sydney, Australia. Formed in the mid 1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass) Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals.)

After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band’s ‘Goes So Slow’ Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records.

The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993.

Robert Chini, (pronounced keeney) a native of Southern California is a multi-instrumentalist and singer/songwriter who began his musical journey as a drummer at the age of five. Although starting out as a drummer, he soon found a passion for the guitar, keyboard, and bass. Robert's talents led him to become a Motown songwriter during the 70s, and to tour/perform with many international recording artists such as the infamous England Dan and John Ford Coley, tour in various bands alongside Peaches and Herb, Tower Of Power, and Air Supply, and open for groups like Taj Mahal, Stanley Clarke (feat. Chic Corea), Atlanta Rhythm Section, and the Average White Band. Robert has also written and produced several commercials, one of which won him an Emmy award. He is currently performing as not only a solo artist, but also with many other popular musicians and singers, and operating Sound Jar Studios in North County San Diego. "Doin' It all for You" was written and recorded in 1979. All music, vocals and instruments were performed and recorded by Robert Chini in Cardiff by the Sea California. "Everlasting Love" was written and recorded in Escondido CA in 1976. This song is written about people searching for a higher power in life... All music, vocals and instruments were performed and recorded by Robert Chini.

David Bowie booked 2 weeks at Sigma commencing on the 8 August 1974. He was accompanied by Mike Garson and David Sanborn from the tour band; new guitarist Carlos Alomar; Willie Weeks on bass (to replace Herbie Flowers who had returned home); and Andy Newmark on drums to replace Tony Newman. In addition, Ava Cherry, Robin Clark (Alomar’s wife) and their friend Luther Vandross provided backing vocals.

1977 was a pivotal year for Motorhead, seeing as it saw the release of their debut, self-titled album and also the hiring of Fast Eddie Clarke, forging what is invariably seen as the classic line up of this seminal band. The year may be closely associated with the height of punk rock, but the ultra heavy metal stylings of Lemmy and co always crossed the divide and appealled to punk and metal fans alike. The 11 tracks here straddle the tracks written for that debut LP ('Iron Horse/Born To Lose', 'Vibrator' and 'White Line Fever') and older material such as 'Motorhead', originally penned by Lemmy's previous employers Hawkwind, their cover of Eddie Holland's Motown classic 'Leaving Here' and 'On Parole', first recorded with Clarke's predecessor Larry Wallis in 1976 then shelved. The sound of one of the finest bands ever just beginning to hit their stride.

Out of print for quite a few years now, this album is a stunning power-pop gem recorded at a time when this kind of girl group pairing with punk rock was unusual.b This is one of the most iconic albums released on Greg Shaw's Bomp! Records. It now includes bonus tracks on top! Definitely stood the test of time. Check out the titles, these young ladies were wearing their collective hearts on those sleeves of theirs. This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp! "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary. "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort...

Trystero comprises Scottish/Luxembourgish producer Thomas Lea Clarke (aka MR TC) and Low Bat, otherwise known as one half of the formidable duo Jean-Luc. Their debut album, Sfumare e Vedere, was conceived over three days aboard Urban Boat, a 1960s barge transformed into an arts and performance space. Moored along the river just outside of Paris, the duo embarked on a joint residency, discovering their complementary creative energies and a mutual passion for all things strange and psychedelic.

As frontman, Low Bat is a fire-powered poet, his unparalleled stage presence resonating through Trystero's music. The French native and fluent German speaker has a natural flair for languages. For this project, he sings in a combination of Italian and English about love, loss, and class struggle, constructing surreal wordplay about pelicans and puttanesca. Meanwhile, Clarke's drone-lead electronic accompaniment takes its cues from sizzling acid, 1990s snap rhythms, post-punk, krautrock and shoegaze. Firmly rooted in these tripped-out genres, Trystero journeys to entirely new cosmic dimensions.

White vinyl, limited to 500 copies.Liam Cromby, known for his work as the lead singer and songwriter of We Are The Ocean until 2017, has today announced his forthcoming debut solo album What Can I Trust, If I Can't Trust True Love, due for release on December 1st 2023, also sharing the title track, available to stream/download worldwide now."Drawing from my own experiences, this song is a testament to those early, fragile moments of a relationship_where every misstep feels like a fall and every kind gesture feels like flying," he explains. "Choosing to name the album after this song was instinctive, given that it was among the final tracks to be crafted. Even though it came later in the creative journey, it perfectly embodies the central theme of the album." Since revealing the first taste of new music in March, with the release of `Here I Am' - accompanied only by a contemplative, artful film featuring an elaborate dance between two performers - followed by `Breakdown', and last month, `At This Table', this new phase of his career is already off to an impressive start. With early airplay from BBC Introducing and Absolute Radio Country among others, an appearance at The Great Escape festival and sold-out headline shows across the country, Cromby was invited to play at the prestigious Black Deer Festival of Americana, and along with a full-band set, joined Brandy Clark, Drake White, Elles Bailey and Bella White for a Songwriter Session.Although recorded in a matter of days, the project was at least five years in the making.

“The heavy and intense brand of noise-rock that’s spat out by London’s Modern Technology is so dense and ferocious, it’s hard to believe the band consists of only two members.” JR Moores, The Quietus Human Worth are proud to present the stunning new full-length from London/Brighton noise rock duo Modern Technology, with a portion of proceeds donated to charity.

"How two players can make this much racket just has to be heard to be believed. The bass guitar and drums duo Modern Technology sound deceptively larger, louder and noisier than one could expect. The duo of Chris Clarke and Owen Gildersleeve (Old Mayor) present their second full length album Conditions OF Worth through rising leftfield heavy label Human Worth. Encapsulating influences of ‘90s Touch & Go era noise rock, the grubby grit of sludge metal, and the ferociousness of post-hardcore - Modern Technology hit you with the same energy and volume as their lauded live shows. Marching forwards as thoughtful as they are sonically unhinged, ‘Conditions Of Worth’ takes the duo’s voiced concerns and socially conscious outlooks further and louder, tackling issues including mental health, the effects of austerity, societal degradation, and the ever increasing climate emergency.

Conceived behind closed doors within a world locked down throughout 2020, and finally recorded with Misha Hering at London’s Holy Mountain Studios in the winter of 2022 (which has also housed Green Lung, Idles, 40 Watt Sun, Old Horn Tooth and many more) – ‘Conditions Of Worth’ is a contemplative surge of seething fury, slowly boiled until the duo could no longer contain their exploding proverbial lid. Hering majestically reins in Modern Technology’s acidic aggression, capturing the duo’s most dense, textured and atmospheric offerings to date, perfectly finished off by Stephen Kerrison, adding his mastering magic touch. This record truly showcases the band at their largest, wildest and most empowered, and the effects are electrifying.

‘Conditions Of Worth’ will be released through Human Worth on 13th October as a limited edition Transparent “Utility Yellow” Vinyl in a stunning package designed by @rackle. 10% of all sales proceeds will be donated to charity Choose Love, helping to provide humanitarian aid, search, rescue and legal advice to refugees and displaced people across the globe.

Josh Ritter’s “Metallic Silver” vinyl edition of 2010’s So Runs the World Away.

Limited to 1000 copies worldwide and newly remastered and optimized for vinyl. The last vinyl LP, coke bottle clear with blue swirl, sold out quickly, and there hasn’t been vinyl available for nearly two years.

Includes album download card, and full color marketing sticker with: “Metallic Silver 1000 LP limited edition, Remastered + Optimized for Vinyl.

Bristolian newcomer Clara Mann releases her intimate debut EP Consolations via Sad Club Records. The 4-track EP stands both as a collection of reflections into her own private world, and as a soothing dose of medicine used to “console” herself. It documents the progression of adulthood, focusing on the fragility of the self and highlighting the importance of connection, whilst offering us a well-needed moment of tranquillity.

These themes are embodied by coming-of-age title track ‘Station Song’ which joins previous singles ‘Thoughtless’, ‘I Didn’t Know You Were Leaving Today’, alongside new track ‘Waiting For The Flight’ which completes the release. Whilst nodding towards the sounds of other contemporaries like Shannon Lay and Dana Gavanski, Clara sets herself apart with her intimate soundscapes and unique voice, creating a distinct ethereal sonic landscape.

Bristolian newcomer Clara Mann releases her intimate debut EP Consolations via Sad Club Records. The 4-track EP stands both as a collection of reflections into her own private world, and as a soothing dose of medicine used to “console” herself. It documents the progression of adulthood, focusing on the fragility of the self and highlighting the importance of connection, whilst offering us a well-needed moment of tranquillity.

These themes are embodied by coming-of-age title track ‘Station Song’ which joins previous singles ‘Thoughtless’, ‘I Didn’t Know You Were Leaving Today’, alongside new track ‘Waiting For The Flight’ which completes the release. Whilst nodding towards the sounds of other contemporaries like Shannon Lay and Dana Gavanski, Clara sets herself apart with her intimate soundscapes and unique voice, creating a distinct ethereal sonic landscape.

London-based John Myrtle releases his charming debut album Myrtle Soup, on indie label Sad Club Records (bugs, Clara Mann, nudista). Homemade sounds to be enjoyed alongside ‘a nice calm sigh’, the debut album is a playful exploration of love and identity, packaged to soothe and delight. The album includes single cuts ‘Get Her Off My Mind’ and ‘How Can You Tell If You Love Her?’, which garnered support from the likes of BBC 6’s Marc Riley & Radcliffe and Maconie, as well as DIY & So Young Magazine.

John Myrtle is a Birmingham-raised London-based singer-songwriter and multi-instrumentalist, who writes feel-good sun-soaked anthems. After releasing a bundle of tracks on his soundcloud in 2018, Myrtle released his debut EP Here’s John Myrtle in July 2019 via Sad Club & Bingo Records. John Myrtle has been an active member of London’s live music scene, playing with artists such as Katy J Pearson, Boy Azooga and Blackaby.

Ellie Bleach releases her debut EP No Elegant Way To Sell Out via the London based tastemaker label Sad Club Records (Clara Mann / John Myrtle). Raised in the seaside commuter town of Southend, Ellie Bleach draws from the rotating cast of bizarre, lonely characters that exist within suburbia — crafting an indie-meets-baroque-pop sound that melds witty lyricism with the strangeness of modern life. Taught piano by a pet healer at an early age, a wry, humorous vein runs through Ellie Bleach's music; weaving confessional songwriting with an old school showmanship that spans light whimsy to grandiose theatricality.

Inspired by leading female songwriters of the 90s, from Fiona Apple and PJ Harvey to Alanis Morrissette, Ellie Bleach’s charming facade and razor-sharp satire harbours a biting cynicism that lingers restlessly in the wings.