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Grammy Award winning English rock band Muse will release their long-awaited ninth studio album Will Of The People on August 26th via Warner Records. Of the album, Muse frontman Matt Bellamy says, “Will Of The People was created in Los Angeles and London and is influenced by the increasing uncertainty and instability in the world. A pandemic, new wars in Europe, massive protests & riots, an attempted insurrection, Western democracy wavering, rising authoritarianism, wildfires and natural disasters and the destabilization of the global order all informed Will Of The People. It has been a worrying and scary time for all of us as the Western empire and the natural world, which have cradled us for so long are genuinely threatened. This album is a personal navigation through those fears and preparation for what comes next.”

With Muse being Muse, there is NO bowing to any singular genre. The album’s title track “Will Of The People” brings playful provocation to a dystopian glam-rocker while there is an innocence and a purity to the nostalgic electronic textures of “Verona.” From the visceral thrill of “Won’t Stand Down,” to the industrial-tinged, granite heavy riffs of “Kill Or Be Killed,” or the lightning-bolt rush of “Euphoria,” the album concludes with the frenetic finale of the brutally honest “We Are Fucking Fucked.”

On the band’s new single “Compliance,” Bellamy says, “‘Compliance’ is about submission to authoritarian rules and reassuring untruths to be accepted to an in-group. Gangs, governments, demagogues, social media algorithms & religions seduce us during times of vulnerability, creating arbitrary rules and distorted ideas for us to comply with. They sell us comforting myths, telling us only they can explain reality while simultaneously diminishing our freedom, autonomy and independent thought. We are not just coerced, we are herded, frightened and corralled to produce a daily ‘2 minutes of hate’ against an out-group of their choosing and to turn a blind eye to our own internal voice of reason & compassion. They just need our Compliance.”

“Compliance” is immediately addictive, embellished with sleek synths and elements of off-kilter alt-pop. As Bellamy sings, “We just need your compliance / You will feel no pain anymore / No more defiance / Just give us your compliance,” the crashing of the drums and intermittent bass cause the song to swell with power. The accompanying video (directed by Jeremi Durand and shot in Poland) was inspired by the film ‘Looper’ and follows three children wearing masks destroying their future selves in order to escape a dystopian and oppressive world. Watch HERE.

Will Of The People was produced by Muse. Key collaborators include mixing on eight tracks by the multiple Grammy Award winner Serban Ghenea; mixing from Dan Lancaster on “Won’t Stand Down,” and additional mixing on “Kill Or Be Killed” from Aleks von Korff;

Will Of The People is now available to pre-order HERE, with “Compliance” and “Won’t Stand Down” provided as instant downloads. It will be released on digital, black vinyl and CD, as well as a selection of collectible formats. These include a marbled double-vinyl which is available exclusively from the band’s official store.

About Muse

Muse is Matt Bellamy, Dominic Howard and Chris Wolstenholme. Their last album, Simulation Theory, debuted at #1 in multiple territories and marked the band’s sixth straight album to debut in the U.K top spot. Their previous studio album, Drones, went on to win a Grammy Award for Best Rock Album, the band’s second.. Since forming in 1994, Muse have released eight studio albums, selling over 20 million units worldwide.

Widely recognized as one of the best live bands in the world, Muse have won numerous music awards including two Grammy Awards, an American Music Award, five MTV Europe Music Awards, two Brit Awards, eleven NME Awards and seven Q Awards, amongst others.

Each LP release consists of the original remastered album, cut at Abbey Road, packaged with a download code for the album and bonus tracks. The LPs are heavyweight black vinyl in a gatefold sleeve accompanied with photos, credits and Neil's liner notes.

GaBLé is like a cock and bull story or a fairy tale that only happens to others, a B-movie that would have slept with a Z-movie to end up as an Oscar winner. For 10 years now, this incredible trio has become established worldwide through their pop music. In 2007 after 3 CD-R albums, GaBLé found itself releasing « 7 Guitars With A Cloud Of Milk » its first album on the mysterious British label LOAF Recordings. Quickly discovered by a trained ear, the group was rewarded with the CQFD Inrockuptibles prize in 2008 and was invited to play many European venues. In 2011, GaBlé released « CuTe HoRSe CuT », just after their EP «I'm OK », their answer to Daniel Johnston's « Hi, how are you?» At the beginnin...

The trio Topsy Turvy is the latest discovery from the seemingly inexhaustible pool of the new Viennese indie scene. On their debut album, Theresa Strohmer (guitar), Lena Pöttinger (drums) and Victoria Aron (bass) manage to combine the energy of 80s British post-punk with driving surf influences and beautifully quirky indie pop melodies. On their almost thirty-minute debut album "Butt Sore", which was produced by their Siluh label colleague Peter T. from Euroteuro, the three mus...

Kristin Hersh’s new album is a cinematic road trip; a series of personal vignettes from a fiercely independent auteur, sitting plush with layers of all-consuming strings and mellotron. It’s a watershed moment in a career overflowing with creative firsts and inspirational thinking; an elegant piece of personal reportage, a home movie caught in time.

Previously, the juxtaposition of light and dark has been essential to the drama of Throwing Muses and 50footwave, but this solo set is something of a departure; more inward looking, quieter but outspoken, underpinned by background noise for ambience and awkwardness.

“Passion sounds less angry, more grateful, I think,” Kristin muses, “sweeter, sadder. And somehow, no less alive… over car engines and rain in New England and whistling ducks and wind chimes in New Orleans, it all sounds wistful to me.”

‘Clear Pond Road’ is a life-affirming statement, a further part of the jigsaw, a very personal memoir, from street signs to snapshots; a late blossoming and coming-of-age from a true icon of independence. The record is both intimate yet expansive, written largely within the confines of Hersh’s home, making the proceedings ever more personal.

This new, expanded version of Texas Is The Reason's groundbreaking album includes the last two songs the band wrote before splitting up, but had never released. These two songs, which fit right into the band's canon, were finally put to tape this year with "Do You Know Who You Are?" producer J. Robbins - making this, for the first time, a complete career retrospective. Fully remastered by Vlado Meller (Muse, Jeff Buckley, Kanye West, Weezer). New pressing now available on opaque brown vinyl with a gatefold cover.

Spiderland (remastered) LP pressed on 180 gram black vinyl, 12 page photo book, includes coupon for full album download with bonus material!Slint's 1991 album, Spiderland, remastered from the original analog master tapes by our friend Bob Weston at Chicago Mastering Service. This is the same version as was included in the Spiderland (remastered) Box Set.A download coupon for 14 bonus outtakes and demos personally selected by Slint and mastered by Bob Weston, as well as downloads of the entire Spiderland (remastered) album itself . The 14 bonus songs are not included on the vinyl album; they are included in this vinyl package as digital downloads only. Packaged in a heavy weight "tip-on" gatefold LP jacket, including a large format, 12 page book of photos including a foreword by Will Oldham and printed in the USA at Stoughton.Packaging concept and design by Louisville native Jeremy deVine (of Tempor...

Time heals all wounds, or so the phrase goes. For the dreamers however, time gives them -- or maybe demands -- the perspective of every angle, every possibility, every opportunity to wring out whatever is born from experience. Simple moments alone can magnify these perspectives, culminating in a deeper empathy, and for a select few, a muse for new artistic expression. Such seems the fate of Dee Dee of DUM DUM GIRLS. Much has been written of Dee Dee's personal trials, but no words speak better of her handling of experience than her musical output. "End of Daze" o...

The Seattle-based songwriter Grant Olsen -best known as half of the duo Arthur & Yu-christens his new project GOLD LEAVES. An autumnal character imbues these nine originals. Just as foliage buds, changes color, and eventually falls from the branches every season, so too do themes of birth, death, and regeneration permeate "The Ornament". Like most creative types, Olsen's muse is always in transition. The album went through myriad permutations between inception and completion. Although he began work on it nearly four years ago, he scrapped the bulk of those early efforts after a bag...

Thank You For Today, Death Cab for Cutie's ninth studio album, was produced and mixed by Rich Costey (Fiona Apple, Franz Ferdinand, Muse), who also produced the band's last album the GRAMMY® nominated Kintsugi. Thank You for Today marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab's touring band since 2015.

Fire Records will be reissuing SOS JFK , the one and only album from folk two-piece The Children's Hour, which featured Josephine Foster and Andy Bar. Initially released in 2003, the album introduced audiences to Foster's enchanting vocals and poetic folk, which would be developed to staggering effect in her later solo recordings, such as the recently released critically acclaimed album Blood Rushing (Fire Records).The Children's Hour were an acoustic duo comprised of members Andy Bar and Josephine Foster. The two friends first connected in 2000 in a short-lived rock trio called Golden Egg, and then on a lark formed the pop song-writing duo oriented toward more naïve themes. Foster was a rec...

Sun Racket' is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013's 'Purgatory/Paradise' is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh's well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that's at once calm and ethereal before building into glorious cacophonous crescendos. When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. "It sounded beautiful jumping around like that". Two-minute songs reappearing as twisted instrumentals or another song's bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. 'Sun Racket' is the opposite. It refused to do anything but sit still. It says, "sit here and deal". "All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn't have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more" - Kristin Hersh And so, they continue. Business unusual. "A ground-breaking band who changed the face of alternative music rather than follow the rule book." MXDWN "Pioneers of the 80s/early 90s college rock sound" Pitchfork "One of America's finest guitar bands" The Quietus

'Doroth follow on from a 2019 self-released digi EP with this fresh 7" for Research. The duo of Loretta Wilde and Maria Moles from Melbourne have established a song writing craft that's equal parts This Heat and Throwing Muses; all disjointed rhythms and dry vocal delivery that seems to come with an intentional feeling of malaise. Where their self-titled EP allowed for the sprawling Still House Plants-esque sound of 'On The Lamb', both 'Take It Easier' and 'Picture' condense the live sound into two sub 4 minute slices of indie pop / art rock goodness. We've got no clue what photograph Wilde is singing about but the combination of bass and drums bouncing off one another underneath her prolonged strainings will be sure to stick in your brain.'

New 90-minute brainbath by rogue cosmic bookie New Mexican Stargazers takes as its muse a surreal, smoke-soaked gambler’s paradise two centuries in the future: Casino 2223. Part soundtrack and part summoning, the collection sprawls and stumbles through sparkling caverns of slots, neon, video portals, and tape hiss, alternately devotional and desolate. Cracked astral keys slipstream over cheap metronomes, zoned voids, and decayed haze, disappearing into outer reaches, backrooms, and nights that never end.

Nnf’s expanded edition also includes five outtakes from the C2223 sessions (originally digitally self-released in 2023), capturing NMS at their most sublime and subliminal, away from the noise, tracing ancient dunes lit by spheres and pyramids beaming columns of light straight into the stars.

"The Veiled Sea" is easily one the most viscerally satisfying records in the Six Organs of Admittance discography. As always, Chasny finds the invisible threads between incongruous sound worlds. Here it's American (electric) guitar heroics and galactic postpunk, Popol Vuh-ish pastoralism and heavy psych. But these disparate musical regions are here rendered so fully and tangibly, one is struck by the sheer mass of them. It is an improbable universe, but somehow it all connects. This is a record a little outside of the standard Six Organs catalog but no less a perfect part of it - one where big, beefy extended electric guitar solos stand proudly on one track and extraterrestrial-seeming rock on the next. Chasny is always one to boldly follow his own muse and the audience has always had the privilege of following. "The Veiled Sea" is no exception and a grand addition to the 6Ø catalog.

The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. The multi-faceted album is complex in its construction, but by enlisting producer Jaime Gomez Arellano (Paradise Lost), each element is given ample room to breathe and indeed shine. Gold's fourth album, Why Aren't You Laughing?, produced by Jaime Gomez Arellano (Paradise Lost, Grave Pleasures). The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. Available on CD & LP. Recalling the experimentalism of Godspeed You! Black Emperor, the dark and sweet beauty of Kristin Hersh and Throwing Muses, but firmly rooted in a powerful, yet artsy rock vibe, Gold have tapped into something truly unique.

L’Épée is a four-piece band comprised of Emmanuelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) and Lionel + Marie Limiñana (The Limiñanas). The collaboration came about last year, when husband and wife duo The Limiñanas recorded an album (’Shadow People’) with Anton Newcombe. A track featured French musician, actress, model and muse Emmanuelle Seigner on guest vocals. When she came into the studio to record the group dynamic clicked and a natural collaboration ensued. Inspired by melancholic movie scores and the mythology of Rock’n'Roll music, from Lou Reed to the Rollin Stones, ‘Diabolique’ is infused with light, shadows and layers of psychedelic fuzzy guitars. It was recorded between Lionel and Marie’s home place Cabestany (FR) and Anton’s Cobra Studio in Berlin. The collective have named themselves L’Épée, meaning “the sword” in English, after it came to Anton in a dream. They will be touring Europe later this year.

Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it.

Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output.

The tenth official full-length by St. Petersburg synth savant Vladimir Karpov aka X.Y.R. is a liquid suite of surreal tranquility, divined and designed to soundtrack the shimmering mysteries of underwater life: Aquarealm. Inspired by vintage Soviet cartoons, nature documentaries, and his own colorful aquarium fish, the album’s seven songs share a mood of contemplative depths and dizzying beauty, adrift in deepwater currents and bioluminescent tides. Hazy tones swell and swirl while crystalline keys, loops, and echoes swim in the periphery, rising like bubbles to the surface. Karpov describes these compositions as flights of fantasy, born of an oceanic muse as idyllic as it is infinite. It’s music simultaneously serene and cinematic, conjuring blue horizons of kelp forests swaying above rainbow reefs, casting shadowplay on sandy floors. A realm both real and imagined, submerged but transcendent, rippling from the mind’s eye to the great beyond.

1500 pressed on Creamy White vinyl & DL card. First time on vinyl since 1998 for this magnificent patchwork collage of the Giant Sand main man's eclectic muses; a cut and paste gem, meandering, melancholy and beautiful. Classic solo album from Giant Sand's main man Howe Gelb circa 1998, re-issued with new liner notes and remastered on cream vinyl. A catch-all collection from the much-travelled troubadour that brings together a wealth of personal recordings edited into an intriguing ponder wander through the man's thinking. A truly intoxicating set of songs buoyed by Howe Gelb's prosaic prose and effortless use of the mind-bending one-liner. "'Hisser' is the vision of a truly unique and engaging talent, and in its pure heart and soul lies a masterpiece." College Music Journal * "One of those albums that could have a semi-permanent spot next to the hi-fi for late-night playing." The Independent

Record Store Day 2021 Release. 1500 pressed on Creamy White vinyl & DL card. First time on vinyl since 1998 for this magnificent patchwork collage of the Giant Sand main man's eclectic muses; a cut and paste gem, meandering, melancholy and beautiful. Classic solo album from Giant Sand's main man Howe Gelb circa 1998, re-issued with new liner notes and remastered on cream vinyl.

Tracklisting: 01. Temptation OF EGG 02. 4 Door Maverick 03. This Purple Child 04. SHY OF Bumfuck 05. Propulsion 06. Catapult 07. Creeper 08. Tanks Rolling Into Town 09. Halifax IN A Hurricane 10. Living ON A Waterfall 11. Like A Store Front Display 12. Explore YOU 13. Nico's LIL Opera 14. Thereminender 15. Hisser 16. Intro Speck 17. Soldier OF Fortune 18. Lull 19. Short WAY TO END THE DAY

180gLP INCLUDES ART PRINT POSTER + DL CODE.Eric Chenaux is one of Canada's most respected, long-standing experimental guitar players and songwriters. Starting with legendary Toronto punk band PHLEG CAMP in the early 90s, he has tirelessly expanded his musical vocabulary in countless improv, avant-folk, damaged jazz and contemporary music ensembles throughout the 2000s. Since 2006, Constellation has been home to Chenaux's more overtly song-based work, his clear voice and erudite lyricism guided by an utterly unique guitar technique and a deep immersion in folk traditions from medieval to post-modern. With this fourth album for the label, simply and aptly titled "Guitar & Voice", Chenaux has made what in a literal sense can be called his first solo album, in that this recording features only his playing and singing; no guest or supporting mu...

New pressing of the old RSD LP , now on black vinyl. An essential vinyl release of the Throwing Muses’ mainstay’s 2016’s CD and
essay book that featured stories from “her life's most perception-altering junctures” (NPR). “As memoirs, her albums are so intensely
personal... as art, they’re arguments for the value of unapologetic individuality” Pitchfork. “This music reminds you how alone you are; it
consoles you through its insolubility, comforts you by jabbing you in the chest and letting you know how complex the struggle is, how
inaccessible we are to each other but just how universal our pain can be.” The Wire. This sonically rich and fragmented record
references to Hersh’s past material and sees her perform on guitar, bass, drums, piano, horns and cello. There’s a mysticism and
sense of life wonderment throughout ‘Wyatt At The Coyote Palace’ that also has death as a central theme rather than the
contemplation of death itself it’s reaching the end of something and beginning a new life.

Fully remastered and licensed, ltd to 500 copies on 180 gr. vinyl After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the Cbgb with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.

From the off, Sharon Van Etten & The Attachment Theory issonically different from Van Etten's previous work. Writing andrecording in total collaboration with her band for the first time,Van Etten finds the freedom that comes by letting go. The resultof that liberation is an exhilarating new dimension of sound andsongwriting. The themes are timeless, classic Sharon - life andliving, love and being loved - but the sounds are new, whollyrealized and sharp as glass.Reflecting on this new artistic frame of mind, Van Etten muses,"Sometimes it's exciting, sometimes it's scary, sometimes you feelstuck. It's like every day feels a little different - just being at peacewith whatever you're feeling and whoever you are and how yourelate to people in that moment. If I can just keep a sense ofopenness while knowing that my feelings change every day, thatis all I can do right now. That and try to be the best person I can bewhile letting other people be who they are and not taking itpersonally and just being. I'm not there, but I'm trying to be thereevery day."Sharon Van Etten & The Attachment Theory is a quantum leap inthat direction.- Lol Tolhurst

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Awareness Edition: Amber Galaxy Vinyl + Laptop Sticker.From the off, Sharon Van Etten & The Attachment Theory issonically different from Van Etten's previous work. Writing andrecording in total collaboration with her band for the first time,Van Etten finds the freedom that comes by letting go. The resultof that liberation is an exhilarating new dimension of sound andsongwriting. The themes are timeless, classic Sharon - life andliving, love and being loved - but the sounds are new, whollyrealized and sharp as glass.Reflecting on this new artistic frame of mind, Van Etten muses,"Sometimes it's exciting, sometimes it's scary, sometimes you feelstuck. It's like every day feels a little different - just being at peacewith whatever you're feeling and whoever you are and how yourelate to people in that moment. If I can just keep a sense ofopenness while knowing that my feelings change every day, thatis all I can do right now. That and try to be the best person I can bewhile letting other people be who they are and not taking itpersonally and just being. I'm not there, but I'm trying to be thereevery day."Sharon Van Etten & The Attachment Theory is a quantum leap inthat direction.- Lol Tolhurst

Awareness Edition: Amber Galaxy Vinyl.From the off, Sharon Van Etten & The Attachment Theory issonically different from Van Etten's previous work. Writing andrecording in total collaboration with her band for the first time,Van Etten finds the freedom that comes by letting go. The resultof that liberation is an exhilarating new dimension of sound andsongwriting. The themes are timeless, classic Sharon - life andliving, love and being loved - but the sounds are new, whollyrealized and sharp as glass.Reflecting on this new artistic frame of mind, Van Etten muses,"Sometimes it's exciting, sometimes it's scary, sometimes you feelstuck. It's like every day feels a little different - just being at peacewith whatever you're feeling and whoever you are and how yourelate to people in that moment. If I can just keep a sense ofopenness while knowing that my feelings change every day, thatis all I can do right now. That and try to be the best person I can bewhile letting other people be who they are and not taking itpersonally and just being. I'm not there, but I'm trying to be thereevery day."Sharon Van Etten & The Attachment Theory is a quantum leap inthat direction.- Lol Tolhurst

RSD First, Limitation: 2000

The Warning infuse rock music with a much-needed shot of adrenaline. The Monterrey, Mexico trio of sisters—Daniela “Dany” [guitar, lead vocals], Paulina “Pau” [drums, vocals, piano], and Alejandra “Ale” Villarreal [bass, piano, backing vocals]—charge forward with head-spinning riffs, unpredictable rhythms, stadium-size beats, and skyscraping vocals. Through a series of independent releases, The Warning garnered the respect of countless fans and musicians from across the globe before signing with Lava/Republic to release their 2021 MAYDAY EP. The band’s single “CHOKE” surged them to the forefront of hard rock. The 3-piece powerhouse have already played alongside rock legends such as Muse, Foo Fighters, Guns N’ Roses, Royal Blood, The Pretty Reckless, Three Days Grace, and more.
After generating millions of streams on their MAYDAY EP alone, everything just set the stage for their full-length debut ERROR, in 2022. On the album, the band explores themes such as technology, society, the generational gap, anxiety, suppression, and love over a soundtrack of eloquently constructed thrash, stadium-shaking choruses, and empathetic lyrics. Now, ERROR represents a new beginning for hard rock. This RSD Black Friday edition, pressed on Cobalt (LP 1) and Ruby (LP 2) vinyl variants, Includes three live tracks never before released on vinyl.

Gábor Lázár's "Boundary Object" is a collection of eight real-time recorded, unedited tracks made in Budapest and Prague between 2020 and 2022 using a self-designed compositional interface. It's Gábor Lázár's second album for Planet Mu following "Source" in 2020. The title comes from the idea of a Boundary object as a flexible concept of sociology and computation of how collaborations could happen between groups of people who have different kinds of backgrounds and different levels of knowledge. A Boundary object could be anything which translates between these groups to make a collaboration happen. Boundary objects are plastic, interpreted differently across communities but with enough common identity across social words and contexts to maintain integrity. This is a neat summary of how Gábor's approach and working process led to his music on this album. Prismatic, flexible, and functioning on different levels of interpretation. On "Boundary Object", the shiny surfaces and uniformity of "Source" have collapsed inward, leaving intact the recognisable pulse and frames of his music. While each individual track has a non-linear structure, the album as a whole has a strong narrative. Passages that start out Trance-like and familiar warp and weft into different shapes as if Gábor is examining the music like a 3d object, pulling at the edges, breaking and rebuilding what he examines, turning expectations inside-out. "Boundary Object" is intense, full-spectrum and a lot of fun.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022.

Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next.

New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom.

Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

Somewhere in between Shannon Wright's rawness and the gentleness of Coilguns' sound, Møsi gets rid of every kind of influences, without a second thought. Their poetry is blunt, the voice is raw, the drums tell the story. Produced by Amaury Sauvé (Birds in Row, It It Anita, Lost in Kiev...) Le Brouillard Jusqu'à la Chute concludes their "lose trilogy," started in 2017 with their first installment La Mise en Scène Volontaire de l'Échec

New album of Meis including the singles Zonder, Los & Fijn. Gatefold packaging.

GrooveNet/Treblephone Records is proud to announce the release of Palace of Sin, the first release in more than thirty years by Dallas band THE Trees Songwriter/vocalist Patrick Mckanna and guitarist Matt Swaney have created a landmark LP which encapsulates rock, country and power-pop influences, combined with solid, insightful lyrics. Patrick McKanna has followed his own muse throughout his entire music career and has steadfastly refused to bow to current styles and influences. His work relies on classic songwriting skills. Matt Swaney’s hookful, melodic guitar ensures that the songs stick in your memory after the album is over. Palace of Sin delivers on the promise of 1986’s Locomotion Vs. Hittin’ The Brake, a seminal record in the development of the Dallas, Texas 1980’s Deep Ellum music scene. The band also appeared on the Island Records 1987 release The Sound of Deep Ellum, a musical snapshot of the fertile mix of styles and influences existing on the Dallas music scene. [Their musical pedigree goes back to the dawn of punk/new wave—Patrick appeared on a local 45 rarity by the U.S. Mods, and Matt was a member of Dallas punk band THE Assassins]. Proving that stellar songwriting and classic production values never go out of style, Palace of Sin will be an album that is destined to remain on ‘repeat’ on your playlist” Released August 2018, but being made available for distribution for the first time.

As ever with our beloved Wouldn't Waste Records - this is a first time on vinyl release! Joy Zipper is an American indie pop duo from Long Island, New York, made up of Tabitha Tindale and Vincent Cafiso, who are also a married couple. The duo has been playing dream pop since the late 1990s. The band is named for Tindale's mother. Their songs are underpinned with darker scarred lyrics (suggested in interviews to have been inspired by the death of Cafiso's father) causing them to be famously compared to, 'a candy apple with a razor blade inside'. Musical influences of the band vary from 1960s rock outfits The Beatles, The Velvet Underground and most associated, The Beach Boys, to early 1990s noise rock pioneers My Bloody Valentine, The Breeders. "Joy Zipper's second album American Whip is as sun-kissed and blissful as their first. Which is to say very much so. Sort of like a sunny take on the Jesus and Mary Chain circa Darklands, the band works the same straightforward noise-dipped-in-honey-approach as the Jamc. Only instead of Jim and William Reid's sneers, we get Vincent Cafiso and Tabitha Tindale's sweet as sugar vocals and harmonies." * * * * - allmusic.com - Riyl Dreampop / Shoegaze / Independent, for fans of J&mc, Beach House, Mazzy Star, Wild Nothing, Ride, Stars, Dean & Britta/Luna/Galaxie 500, Throwing Muses, Blushing

Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.”—Leah B. Levinson

The Slow Readers Club follow their 2020 Top 10 album 'The Joy of the Return' with the release of their new record 'Knowledge Freedom Power. 'Knowledge Freedom Power'is a sizzling synth-rock beast of a record akin to White Lies, Muse and modern-day Bloc Party, and a rallying cry of emancipation, both stylistically and socially. It's a righteous punch of the air, a surge towards the future. Frontman Aaron Starkie says, "The world had got so bleak it felt a little indulgent to paint apocalyptic pictures when they were out in the real world. I thought people would probably want to hear more uplifting things, it was my intention to be a bit more positive. There's still a lot of melodrama in there and it's still dystopian in places but there's more positive shades in this record." That positivity powers to the fore with the album's lead single and title track, an instantly addictive hybrid of the band's new pulsating synth style with their anthemic alt - rock roots. As much as the record finds The Slow Readers Club channelling a brighter spirit, there's no dumbing down of their famously ferocious and insightful lyricism. A beam of hope shines throughout 'Sacred Song' : part in the form of a spiritual saviour, but also embracing the power of love as a force for good, something which can also be achieved by the friendship and community spirit infused in 'Lay Your Troubles On Me'. Yet a darkness still looms large, whether it's within the warmongering satire - and ultimately individual powerlessness - of 'Seconds Out' or the steady march of automation over the human workforce on opener 'Modernise' 'Knowledge Freedom Power' is the band's sixth album and the latest giant leap in one of the greatest self-made success stories in recent British rock history

There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

“Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

“Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times.