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Chuck's first album in 4 years is inspired by the cumbia bands he saw at San Francisco clubs in the pandemic's aftermath, while undergoing cancer treatment. The music was a source of joy, during a dark time. He started playing with ¿Qiensave? a cumbia band based in Salinas, CA. The result is 11 new Chuck Prophet songs wrapped in a cumbia shell. The latin rhythms & chord progressions merge with Chuck's signature song styles to create something new that defies genre, but is undeniably joyful.

"Anyone who's ever worn out a copy of the Stones' It's Only Rock & Roll or The Black Crowes' Shake Your Moneymaker is going to find LOTS to love" - Jambase. Comprising the Brothers Kinnon (Chris on vocals and guitar; Jeff on drums), riff-master Sean Casey (guitar), and classically educated bass player Enzo Figliuzzi, the Canadian/California-based band has played with everybody from the Dirtbombs to the Kings of Leon, making SXSW best-of lists numerous times, and hanging out with Andrew Loog Oldham. After years in the wilderness-working as a garbageman, surviving cancer and serious workplace injuries-they are back rocking with next album produced by Dave Cobb (Chris Stapleton, Greta Van Fleet, Brandi Carlile, Rival Sons). Despite experiencing the best and worst of the of old music business, the band somehow kept going, releasing music piecemeal. Now the streaming platforms revolution has given Lions in the Street a new life an audience, allowing them to release largely-unheard music-finally finished and remixed/remastered. "This is rock with a direct line back to the nasty blues, jump tunes, and country boogie that birthed the whole damn genre. Untamed, direct, and bristling with hairy masculinity, Lions in the Street play rock like the cause it is... that is when you do it right. " - Jambase - LITS' upcoming album Moving Along captures their trademark swing and swagger. The title track, mixed by Rick Parker (Beck, BRMC, Scott Weiland), is a menacing, harmonica-driven vamp "worthy of Mick and Keith at their sticky-fingered best" (Jambase. Com). "Moving Along" is also the lead track in the upcoming Paramount film "Cassino In Ischia", starring Prison Break's Dominic Purcell. Never to rest on their laurels, Lions in the Street are also putting the finishing touches on a live album and a record they made with multi-Grammy-Award winning producer Dave Cobb (Chris Stapleton, Greta Van Fleet, Brandi Carlile, Rival Sons).

Red Vinyl. Listening to Fashion Club's self-produced second album ALove You Cannot Shake feels like being caught in the crossfireof a profound beam of light. You can't help but feel bothenlivened and exposed as its aberrant synth lines, artful stringsand disfigured guitars swell into larger-than-life crescendos,which evoke a divine yet probing spotlight.Pascal Stevenson, the Los Angeles-based musician behindFashion Club, likens the experience of hearing A Love YouCannot Shake to staring into the sun, and though the recordwasn't written with religion in mind, its heavenly sonics andemotional sagacity also make it feel like a prophetic encounter.The album was shaped by Stevenson's gender transition andsobriety journey and parses her fluid emotions surroundingthese events and other personal trials and tribulations. But asmuch as it's a dialogue between Stevenson's current andformer selves, it's also an invitation for listeners to join her inthe work of discarding bitterness and re-centering hope,especially when such efforts feel futile. Musically, A Love YouCannot Shake is an unshackling of expectations, asStevenson's previous stint as bassist in the L.A. post-punkoutfit Moaning and her first record as Fashion Club, 2022'sScrutiny, didn't necessarily reflect the full range of her taste,which includes ambient, pop, classical and dance music, orembody her sensitive tenderness and femininity.A Love You Cannot Shake also thrives on a fluid sonic palette.The album's magnetic immersiveness hinges on its strangedynamic shifts, jagged production and ambitious songstructures with parts that don't repeat_choices influenced byher love of left-field electro-pop and her classical musicbackground. While Stevenson handled most of theinstrumentals on Scrutiny, this LP is much more collaborative,featuring an array of contributors who lent strings, piano, pedalsteel and more. Plus, this album boasts country harmoniesfrom Perfume Genius ("Forget"), high-pitched c...

Independent lo-fi garage punk from Vienna!After the great debut album `Goods for Conversation' (Bachelor Records) released in 2023, here is the first new 7' single from the Viennese trio. 60s garage flavoured with a pinch of surf feeling. On top of that, there are the absolutely charismatic vocals of the bustling Felix Schnabl aka Salamirecorder. Minimalist, straightforward, to the point. Nothing reheated. Everything freshly prepared. A top double a-side that makes you want more!If you have to describe SALAMIRECORDER's music, its probably like a weird slightly annoyed outsider but with a melting heart for love songs. A perfect shake between 60s Back from the Grave Garage punk and a little breeze of early trash mixtape Powerpop. or something_ _weird, loud, rocknroll noise!!!

Readers of encyclopedic tomes are obviously familiar with exploding animals – there are numerous reports of torn-apart toads (even in Hamburg, Germany!), actual ants exploding altruistically – but humans that decide to jointly detonate, and with no harm done, that’s rare: Kobe’s own o'summer vacation are unique (and volatile) like that, and they’re back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan.

“Keep it lean, keep it mean,” they say, and that’s what this band loves to take to the extreme: breakneck concision and collective combustion meet freeform noise punk hazards on o'summer vacation's second (not quite) full-length – as the Kobe-based three-piece’s “Electronic Eye” is set to arrive on October 11, 2024. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it’s the perfect launch pad for their latest set of guitarless pyrotechnics. Going right for max q (maximum dynamic pressure), “Electronic Eye” is (unlike those Starships) actually supposed to explode right after lift-off ;)

Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (dmbq, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless + inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana).

Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of “宿痾 (Shuku - A)” – which at 6+ minutes makes up more than a quarter of the album. A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows (previously released “Luna,” “Anti Christ 大体 Super Star”), 30-sec mini noise punk anthems (“竦(shou)”, “Days Go By Fast”), and continues to surf at breakneck pace up and down scales (“@ The”), which often feels like catharsis served with a hammer (“Ultra”). Whereas some tracks are bigger more song-y than others (“Song#2,” that full-throttle “Poodle”), “Vs I” is on time like Tierra Whack (exactly 60 seconds of pick-grinding action), and “Rage” indeed feels like Zack is about to join the party – only to see Ami wipe the floor with pure onomatopoetic fire. Finally, “Aloooooone” and “Humming” (that opening lilt!) are sure going to be live favorites, shifting up and down via hardcore speeds and various break-downs.

Quite hotheaded and terminating things on a high note, o'summer vacation point out that the quick-fire lyrics of their “songs have no meaning. It’s called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music.” Although she considers her contribution “a part of the instrumentation,” they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): “That doesn’t mean we don’t have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands.”

It’s only three ingredients, just like sonic gunpowder: bass, drums, voice – but they tend to explode a few bars into each new track. In a perfect world, there’d be giant colorful clouds of dust gracing the sky over each venue they descend upon.

There are songs that makes friends with anyone and do great at parties, doling out compliments left, right and center. And then there are those songs that just don’t seem to fit in, songs that knock over glasses and makes awkward comments to the host as they stubbornly refuse to adapt and adjust to whatever larger setting you needed them to work in; these are songs that seemingly insist on remaining outside your control no matter how many stylistic or production tricks you try to pull.

Usually, for a band such songs eventually fall by the wayside, are left behind or butchered for parts a few years later. But sometimes quite a few of them show up at the door, at the same time, unruly & ready to shake things up a bit. Sometimes there is trouble.

These are the songs that makes up Neigh!!* Not merely a companion piece to last year’s Yay!, not a collection of B-sides or simply leftovers from that same period, but a reaction, a party for those not invited to parties, consisting of troubled, sometimes weirdly clothed outcasts that refused to go away and instead languidly found their place in the post-plague world while the tunes from Yay! were being pampered and sing-along’ed by band and fans alike.

So, then, it’s not a Nay! These songs care not that the band didn’t notice their potential at first. They know who they are, what their purpose is and what they’re capable of. They proudly wear their ‘lo-fi/no-fi’ and ‘recorded in rehearsal room/home studio’ as embroidered patches on jackets you only now realize are pretty cool. Granted, they had a tough upbringing, some of them come from broken homes and they learned the hard way to ‘Turn a frown upside down’, but here they are, together + strong!

Neigh!! is an album of ‘songs that won’t fit on an album’ – the non-concept of all concepts – a home for strays and runaways perhaps, but more importantly a bunch of tunes Motorpsycho are finally happy with, that found their purpose and now have a home: songs that the band are proud to finally being able to present to the world.

- Dr. Th. Kneipp

Gatefold white vinyl LP!A rock'n'roll sensation from the word go, Danish-Brazilian The Courettes are back with their fourth and best album to date: "The Soul Of_ The Fabulous Courettes". And this time, they're bigger, wider and deeper than ever before as they add more to the blistering ramalama that's seen them cause pandemonium across the venues, festivals and airwaves of the UK, Europe, USA and Japan. Hitting the sweet spot that straddles garage rock, girl groups, doo-wop harmonies, heartache and all points in between, here The Courettes build on the momentum of predecessor 'Back In Mono' with a collection of songs that opens up their sonic scope while confronting dark, emotional matter to reveal 'The Soul Of The Fabulous Courettes'."We didn't want to do Back In Mono 2'," stresses drummer Martin Couri.Having evolved with each album release, "The Soul Of_ The Fabulous Courettes" draws inspiration from many of the duo's numerous idols that have only previously been hinted at."We wanted to show our love of the Spector Wall Of Sound and Motown," reveals Flavia. "It was a clear mission and we've absolutely nailed it."From the glorious opening beats and stabbing fuzz honks of 'You Woo Me' to the closing emotional tugs of 'For Your Love' via 'SHAKE!''s fuzzed-up urgency and 'California''s celebratory warmth, The Courettes have broadened their sound with an increased musical instrumentation and overall sophistication that's evident in both their sound and songwriting. And crucially, they've achieved this without sacrificing any of the rock'n'roll grit that's been scraped from Flavia's guitar strings and Martin's battered and pummelled drums. And aiding them in their quest for sonic perfection are a few guest musicians and back-room wizards playing some very specific roles.While the music has opened up to include acoustic and 12-string guitars, bass, E-bows, castanets and timpani, so have the kind of emotions that might not ordinarily be associated with The Courettes.The Soul Of_ The Fabulous...

"The Styrofoam Winos are that band that we love to have in our lives because they transcend the language of music, not by their individual parts, but by their oneness. On Real Time, Styrofoam Winos 2nd full length of originals for the Sophomore Lounge label, you imagine—and firmly believe—that their relationship extends beyond studios and stages. You believe they not only play music together, but eat meals together, live down the street from one another, practice three days a week because it’s fun, read the same books, and that they’ve agreed in some wordless, musical bond that this is who they are. As a listener, and inevitable fan, you wonder if they found each other by a stroke of luck or the hand of destiny. You believe that they can probably read each other’s minds and that their music is as joyous to them as it is to you. After all, this is what we love about early R.E.M. records, the brainier grooves of Pavement, and the discographies of Yo La Tengo and The Breeders. The Springwater Supper Club and Lounge in Nashville has been a dive bar since before a dive bar was a brand; a place where, in the early 2000’s, everyone would wonder if David and Dave (Berman and Cloud) would be sitting at the bar and a write-up in a weekly paper could fill the room. It seemed like everyone that bought you a beer was either in Lambchop or The Cherry Blossoms. This wasn’t a world that wanted to keep great music a secret. This was a world where great music was born and championed, when a community didn’t have metrics or boardrooms. The members of Styrofoam Winos were in elementary school back then, but they carry on this scene’s shaggy-dog torch that deserves a bigger audience. Real Time was cut live to tape at The Bomb Shelter studio by Andrija Tokic (Alabama Shakes, The Ettes, Margo Price) with few overdubs and over just 5 days, whenever the band had enough money to record. The members – Lou Turner, Trevor Nikrant, Joe Kenkel – all make wonderful solo albums on labels like Dear Life, Earth Libraries, and Spinster, as well as excellent self-releases. But unlike most bands where members compose alone before bringing a song to the table, the Winos write the music and lyrics together. Their van life, which has included tours with MJ Lenderman, has solidified this chemistry. They switch instruments in the studio, too, and allow the friend who found the seed of the song to sing the lead. Between the 3 of them (and a couple visits from pedal steel buddy, Will Ellis Johnson), Styrofoam Winos trade off on guitars, drums, bass, synths, vibraphone, percussion, and all the lovely vocals, like they’re on a cross-country road trip, taking turns behind the wheel, and singing along with each other because they all know the words. And Real Time is just that: a celebration of the present-tense and its ever-shifting moments of living. They’re going down the road, not feeling bad, but feeling. On the opener, “Angel Flies Over,” it sounds like the Styrofoam Winos wind-up a melodic memory from their 2020 all Michael Hurley covers album for their own tuneage. And then, a left turn, and the road trip detours into a feel-good head-trip with the Feelies-ish “Magic Mind.” And on “Don’t Mind Me,” the Winos crib a riff from Little Feat to indulge the tempo-shifting storm clouds mid-song. Over the course of the record, the Winos continue to step on the gas and tap the brakes until “Found Round,” an improvisational finale, where they each take turns singing us the summary, “these are the things that we found,” like they forgot we’ve been listening the whole time. And, yes: I’m wearing my bright yellow, size medium, Styrofoam Winos tee shirt as I type this."—Jerry David DeCicca, Bulverde, Texas

A rock'n'roll sensation from the word go, Danish-Brazilian The Courettes are back with their fourth and best album to date: "The Soul Of_ The Fabulous Courettes". And this time, they're bigger, wider and deeper than ever before as they add more to the blistering ramalama that's seen them cause pandemonium across the venues, festivals and airwaves of the UK, Europe, USA and Japan. Hitting the sweet spot that straddles garage rock, girl groups, doo-wop harmonies, heartache and all points in between, here The Courettes build on the momentum of predecessor 'Back In Mono' with a collection of songs that opens up their sonic scope while confronting dark, emotional matter to reveal 'The Soul Of The Fabulous Courettes'."We didn't want to do Back In Mono 2'," stresses drummer Martin Couri.Having evolved with each album release, "The Soul Of_ The Fabulous Courettes" draws inspiration from many of the duo's numerous idols that have only previously been hinted at."We wanted to show our love of the Spector Wall Of Sound and Motown," reveals Flavia. "It was a clear mission and we've absolutely nailed it."From the glorious opening beats and stabbing fuzz honks of 'You Woo Me' to the closing emotional tugs of 'For Your Love' via 'SHAKE!''s fuzzed-up urgency and 'California''s celebratory warmth, The Courettes have broadened their sound with an increased musical instrumentation and overall sophistication that's evident in both their sound and songwriting. And crucially, they've achieved this without sacrificing any of the rock'n'roll grit that's been scraped from Flavia's guitar strings and Martin's battered and pummelled drums. And aiding them in their quest for sonic perfection are a few guest musicians and back-room wizards playing some very specific roles.While the music has opened up to include acoustic and 12-string guitars, bass, E-bows, castanets and timpani, so have the kind of emotions that might not ordinarily be associated with The Courettes.The Soul Of_ The Fabulous Courettes is an album aime...

12 years since it's debut, Ex Norwegian's third album, House Music, graces vinyl for the first time with a fresh remaster by Prof. Stoned. Notable for a dramatic personnel shake-up, this album continues to be a fan favorite with tracks like "Original Copy" and "Initiative Rock." This limited pressing on translucent blue vinyl, the House Music Blue Vinyl Edition, allows you to luxuriate in every sinister riff and earworm melody. A must-own for die-hard collectors and new fans alike.

Girl TALK’s (aka Gregg Gillis) third album on Illegal Art! Night Ripper is focused less on beat-fuckery and more on bringing heat to the party than previous outings. Hip hop hits, soft rock radio standards, party classics, grunge masterpieces, R&B singles, glossy club-shakers and rock anthems are all layered and placed together into one nonstop celebration of pop and excess. Night Ripper was awarded “Best New Music” by Pitchfork, and has made many proclaim Girl Talk the next Danger Mouse. “One endlessly entertaining mega mash-up”—Rolling Stone.

Black & Clear Swirl.You find Andrew Gabbard on the road and in his creative prime on this astral roadtrip, collecting songs like a cosmic traveler hitching a ride."Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weatheredtattoo you'd see etched on a barfly's forearm as he slams another drink in a dive.Like its title, the record feels like something that's always been around; a trustymixtape that everyone can agree on.Andrew comes to this collection of songs with something that very much feels like a`studio' record, the kind of album a 60s rock star feels like they've built theconfidence to make, to shake off a rawness for something fuller and more realized.The fact that this record was yet again a homemade effort, with Andrew playingeverything (apart from Sven Kahns' pedal steel), gives you an idea of how devotedand studied he is to creating that perfect song.`Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeyingbetween his worlds as a decades-long touring & studio musician/vocalist for theBlack Keys, as a songwriter with his head-in-the-stars, and as the man in his homewith the people he holds dearest and with the studio where he brings it all together.It is clear that Andrew finds himself at this prolific point in his career completelybeholden to songs, to their absolute power, and to their otherworldly ability toconnect.He has mastered his craft, and proves throughout the course of this album that hecan truly make a pitstop stop at every genre.

The 15th anniversary edition of Train's multi-platinum selling record, Save Me, San Francisco has been pressed as a deluxe 2LP, featuring tracks and mixes never before on vinyl. Save Me, San Francisco is the band's 5th studio album and has the smash hits, 'Hey, Soul Sister,' 'Marry Me,' and 'If It's Love.' The deluxe edition includes fan favorites, 'Ordinary,' 'The Finish Line' and the contemporary holiday classic, 'Shake Up Christmas.' The new 2LP also features the 'Hey, Soul Sister' country mix, the alternate version of 'Parachute' and more.

Limited Algae Sea Vinyl.CocoRosie is Bianca and Sierra Casady. Sierra sings and plays guitarand flute. Bianca sings and does percussion (rattles things, makes thingssqueak, shakes a gold chain belt). They write all the music together. LaMaison de Mon Réve was written and recorded in a tiny apartment inthe 18th district of Paris during the spring of 2003.La Maison de Mon Réve was released by Touch and Go Records inMarch 2004.La Maison de Mon Réve is deceptively innocent; enchanting and sweetyet eerie and twisted. An acoustic guitar paints melody through a hazeof cryptic sounds and perversely angelic voices. A broken radiotransmits a music box orchestra. Tiny field mice sing opera.This 20th anniversary edition of CocoRosie's debut album La Maison deMon Réve is pressed on transparent algae sea vinyl and limited to1500 copies worldwide. Packaged in a gatefold jacket with neverbefore-seen photos, the vinyl includes the full album along with apreviously unreleased bonus track, "Hairnet Paradise."

On his new album Sun Glories, Oakland-based musician, composer, and producer Chuck Jo...

Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water," other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in "Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda."

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist.

In the age of streaming platforms and social media, stimulation is easy to come by. Real pleasure, however_the kind that feeds our soul rather than draining it_is in shockingly short supply. The second LP by Thus Love is full of that kind of nourishing euphoria. It swoons, shakes, and swaggers with a combination of grit and sensuality that's been hard to locate in music lately. It's called, fittingly, All Pleasure. The album came out of a period of dizzying growth and transformation for the group. When they began work on it, vocalist/guitarist Echo Mars and drummer Lu Racine were still reeling from the runaway success of their 2022 debut Memorial_a set of lush, elegant post-punk that brought praise from The Fader, the NME, and the Guardian_along with processing the departure of the founding bassist. With All Pleasure, the band re-formed with new bassist Ally Juleen and guitarist/keyboardist Shane Blank. The group convened in a barn in the woods that Mars had transformed into a recording studio, and kept one rule at the forefront: "If it's not joyful, don't do it." What emerged from that mission is a stunningly gorgeous album, full of big, arcing melodies and a range of kinky stylistic twists that will surprise listeners who know the group just for Memorial's chorus-drenched 80s-style psychedelia. "Birthday Song" gives grungy glam rock with a transcendent hook that underlines Echo's lyrical tribute to communal joy. "Get Stable" transmutes existential panic into sharp-angled punk pop. The anthemic title track is something like the album's mission statement, paying tribute to the power of joyful creation. Mixed by Matthew Hall and Rich Costey and mastered by Bob Weston, All Pleasure was recorded as live as possible, capturing the sheer infectious ecstasy that comes from sharing space together and making a divine racket. Put on All Pleasure, tap into the energy that Thus Love is putting out, and you just might find an escape.

Zoom Breakup is the latest slab of zoomtastic Boss-sound garage pop mixed and mastered by the legendary Jim Diamond. "Muck & The Mires might be retro-rockers but they’re not specificists; they happily plunder the Monkees, Sixties garage, “Shake Some Action,” early Beatles, Them, and the Ramones." - The legendary Jim Testa Muck AND THE Mires, Boston's International ambassadors of garage rock 'n' roll, have been described as a blend of the 1964 Beatles and the 1977 Ramones. Their songs are reminiscent of the 1960's British Invasion, all two minutes long and ALL Potential Hits!

The hardest working band in punk rock, The Fleshtones, return with "Festa di Frankenstein" and "The Dedication Song," two anthemic tunes done in the band's inimitable "Super Rock" style that they've been championing since 1976. The former is a haunted hip-shaker about a party at the Frankenstein residence (sung entirely in Italian!) and the latter is frontman Peter Zaremba saluting all of the bands across the USA who influenced them and continue to play the gin joints and dive bars to this day. "The Dedication Song" was originally a hit by the great Freddy Cannon back in 1966, whereas the Fleshtones' brand new rendition serves as a sequel to their smash hit "American Beat" that put them on the map over four decades ago. "Festa di Frankenstein" is a reworking of the under-appreciated Halloween track "Frankenstein's Party" by the Swinging Phillies from 1967. While the original recording is a soulful horn-filled tune, the Fleshtones' version is a far grittier recording that will be a staple of all garage rock Halloween hootenannies to come. Both songs are pressed on a 45 single that is limited to 500 copies worldwide. This is a one-time only pressing!

Two years after the release of their highly acclaimed self-titled debut-album the ATTENTION! from Vienna, Austria return with a BANG! delivering their brandnew longplayer 'Gettin' all ...' to those who are desperately waiting for more insane dance action and give the bleached out face of classic r'n'b a bright new robe. Those guys celebrate the mod-aesthetics of the swingin sixties in perfection. Stylish from head to toe they deliver a frantic mixture of traditional blues, soul, beat and r'n'b to all the smart dancers worldwide and re-create a sound which hasn't been heard since those glory days of acts like Bo Diddley, the ANIMALS, the YARDBIRDS, THEM and the SPENCER DAVIS GROUP. Did you ever shake your tailfeather to the sound of Rock'n-Roll!? Well, here's your chance - THE ATTENTION! - five lads, armed with their love for Rhythm&Blues, fuse their infectious beats, catchy riffs and haunting melodies into an explosive, one-of-a-kind mix, that makes you wanna shout and shimmy! These five hipsters learned their lessons in bluesy licks, soulful shouts and pumping rhythms frighteningly well. So watch out for the heatwave that is called THE ATTENTION! rolling over your town. Make sure to put on your finest pair of dancing shoes and celebrate! Just a handful of bands like THE JAYBIRDS, THE WHAT...FOR! and THE MOVING SOUNDS were able to capture the spirit of the distinctive r'n'b sound as precise as THE ATTENTION! YOU WILL SHOUT AND SHIMMY!!!

To make a mosaic, tiny pieces interlock as a larger picture. In similar fashion, distinct elements coalesce as one in Capstan. The Florida quintet merge metallic precision with pit-splitting hardcore grooves and the kind of hooks you can't shake. After amassing tens of millions of streams from previous releases including 'Restless Heart, Keep Running,' and 'Separate,' the group paint a definitive body of work on their aptly titled third full-length offering, 'The Mosaic' via Fearless Records. Aqua 2 LP.

Vinyl with a couple of light scuffs

For this 12" release,Osborne-theMacGyver of housemusic-chimes in for an extended club remix of Johannesburg quartet BLK JKS's "Mystery", originally from the Mystery ep (released3/10/09 on Secretly Canadian). In true communal spirit, BLK JKS covered Osborne's "Afrika Even More" (for future release) and called it fair trade.With the bass nearly bumping the needleoff the record, we recommend you bust out your best moves early and often. BLK JKS defy description. With a wrecking crew rhythm section, debonair vocals, and guitar concoction of one part shred and two parts soul, BLK JKS shoot an African music sensibility through the tenets of rock. On one hand it is easy to politicize BLK JKS; as seen on the cover of Fader, here is a band that is instantly young, black and fly even as they reclaim styles that have bee...

PEARLS BEFORE SWINE - The 2nd Album by Los Angeles Garage and Voodoo Trash Wild Men The Guilty Hearts...The band started with 2 Guitars and Hermann Senac on Drums. The Hearts wanted more growl to make your insides move and your body shake...they searched the bars and gutters of Los Angeles and had to go to Berlin to bring Gabriel Hammond of the fantastic The Lords Of Altamont and The Fuzztones to play Bass...so beware! This album burns like cheap booze burns your throat...it finds your demons, your skeletons, your ghosts and invites them to come and party...it will leave you feeling dirty...How Much Garage And Punk can your brain stand? Deep in the Voodoo Soul and the Fuzz Punk, these LA Wild Cats brought to you already with the first album on Voodoo Rhythm Records ( LP: VR1227 CD:VRCD27) a smash hit in the genre but now the Guilty Hearts went a step higher and stomp through the songs like a 18 Wheeled Truck over today's music scene.. there's nothing hip about this music...this is the real thing. "Glassell Park" is a smash hit already and...

Warm in the Shadows rounds out the trio of three-song 12" singles that Music Go Music havereleased over the course of 2008-09. It's both a fitting end-piece to the trilogy and a remarkableexpansion of the group's sonic and emotional breadth. There is a casual but undeniable magicto these songs, and it flows around and out of each note of every melody.Title song "Warm in the Shadows" is dance music, as envisioned by a group with a greaterallegiance to pop archetypes than to the hymns of the dance-floor. It's a step in a differentdirection; an invitation to shake, coupled with a gentle evocation of the pain of wrecked love("what kind of heart would break so easy as my own"). It's a case history and a cure for both thelovesick and the lovesick-to-be.The B-side offers up stories of exotic depravity consuming itself...

If last year's "Don't Fall In Love With Everyone You See" was the middle of the darkest night of the year, "Down The River Of Golden Dreams" is the earliest light of a morning that could either bring the first breeze of spring or a battalion of tornadoes. On it the band streches their wings, they shake off the fear and trepidation of the last record and try to look life in the face, emboldened by distorted blasts of Wurlitzer, guttural stabs of Hammond organ, urbane strings, and jaunty horns that cuold be the work of a shitfaced Canadian Brass. "Down The River Of Golden Dreams" combines with OKKERVIL's trademark melancholy a sense of drama and play at which the last album only hinted. It oozes the band's signature string-destroying folk-rock attack and umbilical chamber-pop swoon, but it also echoes the venomous cabaret of Jaques Brel, the off-kilter swagger of the FACES and Bob Dylan's "Blonde On Blonde" and the dusky balladry of Nick Cave. In addition, it displays a new confidence in frontman Will Sheff, whose concise, literary lyrics and emotionally direct delivery are rapidly distinguishing him as one of rock music's best new Songwriters.

Over a catalog of six albums, Native Harrow have produced a discography of “rich, engrossing records” and “instant classics” while single-mindedly following their own artistic code, acquiescing only to the exigence of the song: each song its own world with its own rules. Formed a decade ago, Native Harrow spent their first five or six years crisscrossing the United States and Canada on numerous tours, averaging more than 150 concerts per year in 47 states and 4 provinces, on the back of two self-released albums, Ghost (2015) and Sorores (2017). In 2019, they released Happier Now, partnering with London alt-country stalwarts Loose Records. The record garnered glowing reviews, with Rough Trade selecting it for its album of the month, writing “Beautifully soaring... rolling grooves ground languid and dreamy clearwater shimmers of sound.” The critical acclaim and Americana chart success of the album prompted three back-to-back UK tours in 2019 and early 2020, ultimately leading to a three-year stint living and touring in the UK and Europe. In this time, Native Harrow released two more critically acclaimed records with Loose; Closeness (2020) and Old Kind of Magic (2022), playing for audiences ranging from rock clubs in Norway and Sweden to opera halls in Portugal, and every stop in-between, as well as performing at festivals such as BST Hyde Park (supporting the Eagles and Robert Plant & Alison Kraus), Greenman Festival, Black Deer Festival, The Great Escape, Celtic Connections, Moseley Folk Festival, Sxsw, and many more. Following the eruption of its title track, Side A of “Divided Kind” transitions nimbly through hazy tremolo-laden dusty canyons, past an intimate soulful love letter, and towards a moody anthem of devotion buoyed by propulsive grooves, before ultimately settling on a gentle bird’s-eye-view of love and transcendence. Side B opens with the debut single, “Goin’ Nowhere” a soul transmission over incendiary bass and undulating layers of guiro, congas, tambourines, shakers, and handclaps that sidesteps into moments of infinite dial-toned burnished, Rhodes-propelled soul-jazz and self-assured blues rock à gogo before ending in a spectral folk reading on celestial meditation. “Divided Kind” was produced and recorded by the pair, in their home studio surrounded by the vintage acoustic and electric guitars, dusty semi-functional amplifiers, and out-of-date Rhodes, B3, piano, and assorted percussion they’ve grown accustomed to. Chicago-based Alex Hall was again drafted to add drums and to mix, and Philadelphia drummer and engineer Joshua Friedman mastered the record. London-based musician Joe Harvey-Whyte added the pedal steel to “Borrowing Time”, with all other voices and instruments being performed by Tuel and Harms. “Divided Kind” is available everywhere September 13 on Different Time Records.

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!

Debut full-length album from Long Island natives back in print! Anthemic & melodic punk rock from line-up that features members of: Latterman, Small Arms Dealer, Capital, Get Bent & Jonesin'. Artwork by: Lubrano. 10th pressing! Limited to 435 Black vinyl.

Glen Check made its debut in 2011 and won the Best Dance/Electronic Music Award at the Korean Popular Music Awards, also known as the Korean Grammy Awards, for two consecutive years. In 2012 and 2013, they performed at Japan's Summer Sonic Festival, as well as festivals worldwide including France's Nuits sonores and the USA's Sxsw. They have also enjoyed enduring popularity in Japan, culminating in a successful solo concert at Tokyo's Shibuya WWW in 2015. Their latest release, coming approximately nine years after their previous album, draws inspiration from a wide range of genres spanning from the 1980s to the present, including electronica, rock, and R&B. Based on their experiences growing up in France and the USA, the album was crafted with influences from diverse musical backgrounds. This LP is a limited edition white vinyl, featuring the bonus track "Acid Test (2024 Remix)".

Charlotte Fever - it is now on the agitated shores of a white sand beach that the ardent duo takes us for the release of their first album "Paris cyclone". Taking a more rhythmic musical direction, with more assertive voices and spoken-singing, Charlotte Fever manages to evolve their heady universe towards new spheres without getting rid of the languorous warmth that sticks to their skin. Sometimes luminous, sometimes bathed in a disturbing strangeness, always very melodic, the pieces composed for four hands by Cassandra and Alexandre manage to shake up the sobriety of current electro pop by adorning its synthetic trappings with marimbas and wooden flutes.

New 2024 pressing on blue & black marbled vinyl - Cold Day In Hell Ed.!An iconoclastic milestone that rumbles the earth and shakes our figurative foundations, Songs for Satan is a fuzz-drenched blast of amplified heresy!Songs for Satan is a moment of critical mass for Warsaw, Poland's DOPELORD. A blast of devil-worship in the riffing realms is nothing new, and while they aren't the first band to openly embrace the motif, their amplified heresy is uniquely triumphant, their fuzz-drenched apostasy genuine and glorious. Songs for Satan showcases the band's equal mastery of lumbering plod and silvery hooks, and mines Polish...

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band Bluai is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes. Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of Bluai's debut album. Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. Bluai's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. Bluai thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House. Save It For Later is the creation of a group that came together two years after the formation of Bluai, found a common drive, and is now cruising at full speed. Bluai is here to stay.

Every bar worth drinking at in these great United States has a character like Nato Coles. They know the jukebox so well that the reference catalog becomes meaningless. They're on first-name-basis with all the bartenders, spout trivia like someone's actually listening, and have a particular stool with their ass-print permanently worn in. But most importantly, they're storytellers, historians of low-culture, grizzled raconteurs that can effortlessly shake-out a cocktail of true facts and utter bullshit until it becomes as intoxicating as their "usual."

Originally from Milwaukee, Nato Coles is a journeyman of Midwest punk, getting his start in bands like Modern Machines and the Shrubbers. While he's now been away for longer than he lived there, Brew City still feels like home for Nato. "That's the city that taught me pretty much everything I know," he elaborates, "learning how to tune a guitar, and learning how to avoid getting mugged." Modern Machines made some splashes in the north-coast punk community of the early 2000s, building upon a strong local following gleaned from legendary house shows and other DIY venue spaces. Striking out on the highway with the "MoMacs," as they were known to their fans, gave Nato his first taste of the touring lifestyle and also his first brush with the Twin Cities. "There's a Hold Steady line about knowing Mary Tyler Moore and Profane Existence. I knew Garrison Keillor and Siberia," he says with a laugh. "I would come up here by myself and stay for week, go out and hang out every night and made a ton friends. I kind of realized that the Twin Cities has so much to offer."

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (rip) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (rip) of Love’s backing band. In ‘97 , they created

a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘hms Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (rip) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (rip) of Love’s backing band. In ‘97 , they created

a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘hms Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

What I can say about Torres is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If Torres' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. Torres' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker Torres is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as Torres since 2013. What an enormous room is Torres' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

Masterpiece, Big Thief"s debut album, is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne"s voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they"re grounded in simple things."Masterpiece was recorded in July 2015 at an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo and engineer James Krivchenia (who would go on to become a full-time Big Thief member). The resultant debut Big Thief studio album is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne Lenker"s voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks, "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they"re grounded in simple things." It soars on what Big Thief fan Sharon Van Etten called "...a real journey, with intelligent stories and twist-and-turn melodies."

Masterpiece, Big Thief"s debut album, is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne"s voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they"re grounded in simple things."Masterpiece was recorded in July 2015 at an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo and engineer James Krivchenia (who would go on to become a full-time Big Thief member). The resultant debut Big Thief studio album is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne Lenker"s voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks, "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they"re grounded in simple things." It soars on what Big Thief fan Sharon Van Etten called "...a real journey, with intelligent stories and twist-and-turn melodies."

180g Vinyl, Gatefold, includes two inserts. Rediscover the epic sound of "Earthquake", the groundbreaking album by Electric Sun, reissued and better than ever. Crafted by guitar legend Uli Jon Roth, "Earthquake" takes you on a musical journey that still stands as a trailblazer today. In this opulent masterpiece, hard rock meets psychedelic elements to create an unforgettable, earth-shaking soundscape. Now, remastered from the original master tapes and for the first time available as Vinyl Gatefold, it's time to be swept away again by the power of this musical quake. Prepare to shake the earth once again with Electric Sun's "Earthquake"!

Travesura, the long running musical project of professional skateboarder Leo Romero, return with a brand new LP. On the ten tracks that make up Messenger Pigeon, Travesura conjure up a two sided coin of restless romanticism and roguish irreverence. There’s a wicked country rock tale of ill-fated love with an exotic dancer (“Fund The One You Love”) juxtaposed against the cautionary and quavering ballad of the dangers of confined ire (“Fall”); a barn burning ode to the freedom of the open road (“New Blue”) contrasted against an introspective and autobiographical hymn (“Greatness Can Live”). The album is capped off by the 7 1/2 minute deep-fried, fuck-yeah, blues-eruption title track (“Messenger Pigeon”) that builds to a towering pyre of slide guitar that will shake the fillings right out of your teeth. The songs are world-weary and well-lived in; the playing is impeccable and effortless; and everything is fastened together by Leo’s unmistakeable vocal delivery. Hard to believe it was recorded in just four days at The Ship Studio in LA. Housed in a beautiful gatefold sleeve featuring hand drawn design elements by Leo. Edition of 400.

An iconoclastic milestone that rumbles the earth and shakes our figurative foundations, Songs for Satan is a fuzz-drenched blast of amplified heresy!Songs for Satan is a moment of critical mass for Warsaw, Poland's DOPELORD. A blast of devil-worship in the riffing realms is nothing new, and while they aren't the first band to openly embrace the motif, their amplified heresy is uniquely triumphant, their fuzz-drenched apostasy genuine and glorious. Songs for Satan showcases the band's equal mastery of lumbering plod and silvery hooks, and mines Polish Catholicism's decades of oppression for lyrical fuel. Tracks like "Satan's Call," "The Chosen One," "One Billion Skulls" and "Worms" are pointed in their defiance...