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Ivan The Tolerable Trio are back with an alternate version to the amazing Infinite Peace. 2 epic tracks to take you away into infinite space! "When we went in to ATA studios in Leeds to record the Infinite Peace LP - it was always the plan to have two versions of the album - a straight mix that documented what we actually recorded there in its pure form and another version that would rearrange everything into a new shape. Once the LP was out, I passed all the stems to my old pal/former bandmate and frequent collaborator Ajay Saggar (Bhajan Bhoy/King Champion Sounds/University Challenged) and asked him to remix it in a way that sounded nothing like the original record. Its a much more ambient and floaty affair - more Popol Vuh than Sun Ra a full drift spread across two 22 minute suites. This is what he did - infinite space - we hope you like it." Oli Heffernan, September 2024

The only EP (and more studio recordings!) by one of the first 77 punkrock bands from Liverpool.Released in 1979 and long out of print, The Accelerators S/T EP was the only vinyl output released by this pioneering Liverpool punkrockin' band. A soulful, prime example of from pubrocl originating first wave punk that sounds as fresh and powerful today as the day it was recorded and is presented here in its totality with a B side consisting of juicy demos and alternative mixes. A mandatory gem for fans of garage rock, punk, pub rock and hi-energy rock 'n' roll in general!

Magpie, the fourth studio album from Peach Pit is due out October 25th. The album was written and recorded in the band's hometown of Vancouver, BC. Single disc vinyl, standard jacket, printed sleeve, with poster. COLOR: Clear Mint

Having released two albums proper and a Remix-EP with Born Bad Records, now it's the time to re-release a selection of further singles and b-sides. Perfectly balanced between dark electro and misty post-punk, as inspired by clubbing and krautrock as by bands like Bauhaus and The Fall, VOX LOW could get us moving on the dancefloor while an apocalyptic storm rages outside. VL are four knights of darkness: Jean-Christophe Couderc (machines and vocals), Benoît Raymond (bass), Mathieu Autin (drums), and Jérome Pichon (guitar).For the first time, a selection of hard to find tracks released by VOX LOW on various small labels. Some tracks has been released on very limited 7" vinyl, sometimes at 100 copies only.A1/A2 : 12" Released on Astrolab Recordings 2015 - A3/B2: 7" Released on Evrlst.inc 2014 - A4: 7" Released on Astrolab Recordings 2016- B...

The Wild Classical Music Ensemble is a Belgian experimental rock band formed in 2007 by artists with mental disability within the social-artistic non-profit organisation Wit.h in Kortrijk. Their unique sound is a blend of punk/rock riffs, fanatical rhythms and soaring flutes and fiery synths, over which gravitate multiple, multilingual voices that scratch harshly as much as they comfort. There's something very Belgian about this harshness and noisiness. We often think of compadre Arno, from the TC Matic era.During the Covid crisis, the disabled members of the Wild Classical Music Ensemble were undoubtedly subjected more than others to the harsh conditions of confinement, alone in their rooms. Damien Magnette was still able to visit them with sound equipment. This was one of their all-too-few windows onto the world. Forbidden to meet, let alone play together, the members of Wild were nevertheless able to compose songs in tandem with Damien. The tracks were then sent to musician friends - Fabrice Gilbert, Ava Carrère, Wim Opbrouck, Shht, Arthur Satàn, Nathan Roche and Julien ZLDR - who added their artistic touch. Jean Lamoot and Carl Roosens joined the adventure, one as mixer, the other as video director.It's a result of the conditions under which it was created, this is the band's most highly-produced album, and perhaps its most accessible: frankly rock, with a great deal of freedom in production, and sometimes with a certain pop allure. Jean Lamoot's contribution to the mix had a lot to do with it. In addition, the forced slowdown allowed us to devote much more time and attention to writing the lyrics.Leader Damien Magnette says: "For over a year, we were all confined. But what about when you're a mentally handicapped person? Well, it's very different from you and me... We have the right to choose, the luxury of deciding for ourselves what rules we want to follow or not. We have free will. They don't. This series of confined songs is dedicated to all the people who have gone through this...

When Baby Woodrose went on a hiatus in 2016 frontman and songwriter Lorenzo Woodrose changed his name into his real name Uffe Lorenzen. He also changed i...

the Reagan era was just getting started and Pet Products came crashing through as the first Olympia punk band made up of all local kids. Now the band's lo-fi frenetic energy and glimpses of pop brilliance are available on vinyl for the first time. 16 tracks providing the perfect snapshot of Olympia's emerging punk scene and its pioneers who went on to other great Olympia bands (Lush, Young Pioneers) and Sub Pop bands (Swallow, Creep). Found somewhere in that mixtape playlist between Dead Boys and The Damned providing all the rebellion power and snarl to feed any and all teenage frustrations.

French Bryan's Magic Tears are now shoegaze/baggy at it's best!Summer of love: they weren't around for the first, they've studied the second, and they're planning the next. Bryan's Magic Tears release their next album, Smoke and Mirrors, on Born Bad. Still a thing on previous records, 4AM and Vacuum Sealed, their garage/ noise legacy fades away, not denied though. This confusing specimen will rave about fashionable shoegaze oldies...

As Patois Counselors close in on a decade of existence, they are back to confirm their standing as one of America’s most consistently forward-thinking rock units. Although it’s been an entire presidential term since the Counselors acclaimed sophomore album The Optimal Seat came out, Bo White’s group hasn’t been lying fallow. Over the last few years, the seven-person line-up has been busy writing, recording and gigging, resulting in Enough: One Night at the Daisy Chain, a live-in-the-studio document captured in Brooklyn while on tour. Released at the beginning of 2024, Daisy Chain works splendidly as both a greatest hits primer and a forthcoming album teaser. Alas, the teasing is over with the arrival of Limited Sphere, the third album from Charlotte, NC’s Patois Counselors. Once again, Ever/Never steps up to the plate to demonstrate their confidence in this hard-working crew. In most contexts, a septet band configuration signals either a jazz ensemble or a mishmash of madcap noise. Beholden to no rules, Patois Counselors pluck from a selection of tactics as needed. Even augmented by extra players, each member reinforces their specific role, performing exactly what is needed for the track at hand. White’s post-modern muse needs plenty of room to stretch out and breathe and the big band spreads out the tent as far as it will go. White’s songs are rife with earned skepticism, sly asides and deft twists of tongues and licks. The manner in which the little details accumulate into the structure of the whole keeps the listener engaged. In other words, this is pop music for benevolent, discerning brainiacs, but regular people can dig it too. For Limited Sphere, Patois Counselors relax their grip on the tense post-punk that they mastered long ago. Songs like “Fountain Of UHF,” “Serious Rider” and “Ranking Set” still touch on this style, but now White’s voice shares the air with woodwind instruments that add even more depth and texture to his songs. The effortlessly groovy, vaguely loungey “Marge Attack” conjures fond memories of early Stereolab, while “Return To Sensitivity” evokes the magic hour of twilight, insects buzzing and zipping through dusky sky. Foregrounding the haze and mist in these songs, you can detect traces of Eno’s Another Green World in Limited’s atmoSphere, particularly on the closing “Cathy Music.” For their third proper album, Patois Counselors have crafted another seamless set of songs for practical fantasists and head-in-the-clouds cynics. The sphere outlined here may be limited, but the boundaries have been expanded significantly. —Erick Bradshaw

Emotive and raw, British (St. Albans) punk/alternative band returns with fourth album "Heaven Can Wait." With "Heaven Can Wait.", the band effortlessly blend punk rock and post-hardcore; shining melody and searing lyricism. New album includes features from Eric Vanlerberghe of I Prevail on single "Be Someone" & Kenta Koie of Crossfaith on single "filthy//RIGHTEOUS".Shifting their classic pop-punk to something grittier highlights the extent of the band's development from their very beginnings in 2014, and stresses the transition into a new era for them in 2024.For Fans Of: Trophy Eyes, Boston Manor, The Story So Far, Knuckle Puck, I PrevailPink Colored Vinyl!

Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into Ac/dc. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”

For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for Esmb on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the Esmb vibe.

“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”

According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.

Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random

shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”

With percolating synthesizer arpeggios, and climbing bass grooves, “idks” is the album’s dance-floor slapper. “’idks’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”

Lyrically, “idks” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”

With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

With its ethereal, buzzing acoustic riffs, helix of resonant drones and vocal delivery that often sounds like an ancient form of prayer, Only the Void Stands Between Us sure-footedly takes its place in the post-‘70s experimental folk lineage.

“This is cosmic folk of the highest caliber. Julie’s vocal melodies grow in your mind like they were planted on the shortest day of the year. An absolute treat for all of us temporal adventurers.”

~ Ben Chasny (Six Organs of Admittance)

Single LP on black vinyl with gold foil-printed gatefold jacket.

For fans of: Nico, Kendra Smith, Lungfish & Meg Baird

With their third full-length, Washington, D.C.’s Bad Moves have expanded their founding artistic identity — a candy-coated guitar-pop shell surrounding a bitter lyrical core — by refracting their ideas through a new set of musical forms that weaponize repetition. On the new Wearing Out the Refrain, recorded once again with producer Joe Reinhart (Hop Along, Algernon Cadwallader), Bad Moves propose that the flip side of the delirious harmony of the basement show singalong is the volatile, accusatory antiphony of a community divided by strain, shouting the same desperate hook back and forth at one another.

Bad Moves’ tag-team vocals, which forgo centering anyone one member, also let the traditionally confessional “I” become the “we” of a community, or generation. Witness the ambitious climate change metaphor of “Eviction Party,” which understands the union of sugary pop and genuine angst embodied by 1960s girl-group songcraft, and uses it to expand a personal story to planetary scale. “It’s my eviction, I’ll cry if I want to” Bad Moves shouts, channeling the dawning millennial midlife crisis. The personal may be political, but what if both feel weighed down and trapped in circular, inescapable ruts?