An underground post-rock classic available on double-vinyl for the first time since 1993.

New vinyl transfer (by Frank Arkwright, Abbey Road) made from original production masters.

The God Machine were an alternative rock band who were formed in San-Diego in 1990 and in their short lifespan released 2 highly influential albums on Fiction Records, ‘Scenes From The Second Storey’ (1992) and ‘One Last Laugh In A Place of Dying’ (1993).

Jim Chancellor, head honcho at Fiction writes, “The God Machine are one of the most unknow influencers of what is now known as post rock / metal. Citing praise from as diverse a bunch of artists as Tool, Rage Against the Machine, Mogwai, Converge, and many more”.

Despite receiving glowing reviews for their 2 seminal albums and live performances supporting the likes of Nick Cave & The Bad Seeds, The Cramps, The Fall, My Bloody Valentine and The Jesus and Mary Chain, the band suffered from falling between 2 stools by being “too indie for the American audience and too rock for the UK audience”.

BBC Radio 1 DJ, John Peel, was a champion of the band and invited them to record sessions in April 1992 and March 1993.

TRACK LISTING

A1: Dream Machine
A2: She Said
A3: The Blind Man
A4: I’ve Seen The Man
B1: The Desert Song
B2: Home
B3: It’s All Over
B4: Temptation
C1: Out
C2: Ego
C3: Seven
D1: Purity
D2: The Piano Song 

When a Freckle pops up, that’s when you know that the sun has gotten through. Don’t let ‘em tell you it’s skin damage – more like the sign of time well spent, as always, in the light. Freckle the band’s like that.

Freckle is, then, a Californian. Corey Madden, of Colour Green, and Ty Segall. From the riff, there was a shared understanding about what they wanted. It made sense to shoot for writing things that weren’t personal – instead, taking ideas and vignettes, turning ‘em into back stories and freaking out with the lyrics, making little movies.

Once they had a good batch of songs, it wasn’t long. They didn’t push too hard, they didn’t need to. As it came together, everything fell into place real natural-like.

Freckle is the hive mind of Corey Madden and Ty Segall. This LP reminds all of us that when the clouds are out you can still get sunburned.

TRACK LISTING

1. Paranoid
2. For The Last Time
3. Freckle
4. I Don't Know What I Need
5. Silk
6. Who's Sitting On The Moon
7. Taraval
8. Tea Brush/Millipede
9. Heavy
10. That's All We Wrote

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the ’78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true.

The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and ’91 before signing with C/Z Records and releasing their first full-length album,' Frenching the Bully'. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits “quickly” (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension… all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song.


In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it’s about an extraordinary life. I do not say, “You should have been there,” I say, “We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands.” And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that.

TRACK LISTING

1. Absynthe
2. Another Shot Of Whiskey
3. Insecurities
4. Slaughter Of Bruce
5. Kings And Queens
6. It All Dies Anyway
7. While You’re Twisting I’m Still Breathing
8. A
9. Wingo Lamo
10. Spear And Magic Helmet
11. Cut My Skin It Makes Me Human
12. Here's To Your Fuck
13. Second Skin

2nd and final album by a band lost much too early after the death of bassist Jimmy Fernandez. First time on vinyl since 1994.

New vinyl transfer (by Frank Arkwright, Abbey Road) made from original production masters and now expanded to a 2LP set for maximum sonic fidelity.

The God Machine were an alternative rock band who were formed in San-Diego in 1990 and in their short lifespan released 2 highly influential albums on Fiction Records, ‘Scenes From The Second Storey’ (1992) and ‘One Last Laugh In A Place of Dying’ (1993).

Jim Chancellor, head honcho at Fiction writes, “The God Machine are one of the most unknow influencers of what is now known as post rock / metal. Citing praise from as diverse a bunch of artists as Tool, Rage Against the Machine, Mogwai, Converge, and many more”.

Despite receiving glowing reviews for their 2 seminal albums and live performances supporting the likes of Nick Cave & The Bad Seeds, The Cramps, The Fall, My Bloody Valentine and The Jesus and Mary Chain, the band suffered from falling between 2 stools by being “too indie for the American audience and too rock for the UK audience”.

BBC Radio 1 DJ, John Peel, was a champion of the band and invited them to record sessions in April 1992 and March 1993.

TRACK LISTING

Side A
A1: The Tremelo Song 4:02
A2: Mama 2:52
A3: Alone 4:48
A4: In Bad Dreams 3:08
Approx: 14:50

Side B
B1: Painless 3:58
B2: The Love Song 3:55
B3: The Life Song 4:41
B4: The Devil Song 5:04
Approx: 17:41

Side C
C1: The Hunter 7:57
C2: Evol 4:06
Approx: 12:03

Side D
D1: The Train Song 4:26
D2: The Flower Song 5:41
D3: Boy By The Roadside 5:50
Approx: 15:57

Join HENGE on a mission to Voltus B; a distant planet inhabited by an intelligent species on the brink of discovering the power within atoms.

LIMITED SPECIAL EDITION 12" VINYL - The stakes could not be higher as you turn over your record to play Side B! With two different endings pressed onto one side, the fate of an entire planet rests on the tip of your record player needle! The record is pressed on Ecomix vinyl which uses the leftovers and reground offcuts from previous manufacturing runs. As well as reducing waste it also means that each record has a unique look with different effects, colours and marbles throughout the run.

DOUBLE CD - Choose between two different endings, each found on its own CD. The fate of an entire alien civilisation is in your hands - which path will you take? This double CD comes packaged in a beautifully designed fold-out case, featuring artwork that is exclusive to the CD format.

TRACK LISTING

CD1 TRACKLIST:
1. Ascending
2. Slingshot
3. Hypersleep
4. Descending
5. Welcome To Voltus
6. The Power Of The Atom (Fusion Version)
7. Nuclear Fusion

CD 2 TRACKLIST:
1. Ascending
2. Slingshot
3. Hypersleep
4. Descending
5. Welcome To Voltus
6. The Power Of The Atom (Winter Version)
7. Nuclear Winter

LP TRACKLIST:
1. Ascending
2. Slingshot
3. Hypersleep
4. Descending
5. Welcome To Voltus
6. The Power Of The Atom (Fusion Version And Winter Version)
7. Nuclear Fusion / Nuclear Winter

The earliest version of L.S. Dunes—the one that introduced themselves to the world at Chicago’s Riot Fest in 2022 and went on to release their blissfully chaotic debut, Past Lives, later that year—was birthed in turbulence. There was a pandemic. There were time and family constraints. There were members away on tour with one of their many other bands: Frank Iero’s My Chemical Romance, Anthony Green’s Saosin and Circa Survive, Travis Stever’s Coheed and Cambria, and Tim Payne and Tucker Rule’s Thursday, among them. But somehow, they managed to make it work, touring the globe for a growing and passionate fanbase and finding their footing as a distinct and singular band of their own design along the way.

Now, with the release of their second full-length album, Violet—once again helmed by Grammy-nominated producer Will Yip—L.S. Dunes live up to the promise set by their debut, and in many ways, open up an opportunity to rediscover the band in a different light: Where Past Lives takes its oxygen from the thrill of frenzy and impulsiveness, Violet breathes deeper with a more open and expansive palette. Whether it lives in the confident and steady pulse of a song like “Machines,” in the rousing lyrical empowerment of “Paper Tigers,” or in the way that “Forgiveness” forges itself as an anthem for love and unconditional acceptance in the face of our personal failures, Violet is a body of work that secures multiple outcomes: There is hindsight. There is hope. There is, in fact, magic.

TRACK LISTING

1. Like Magick (4:15)
2. Fatal Deluxe (3:31)
3. I Can See It Now… (3:45)
4. Violet (4:21)
5. Machines (4:06)
6. You Deserve To Be Haunted (3:28)
7. Holograms (3:41)
8. Paper Tigers (3:48)
9. Things I Thought Would Last Forever (3:43)
10. Forgiveness (4:20) 

Prison have been active since 2015, but if you didn’t catch them live in NYC, then you didn’t know - until late in the Summer of 2023, when ‘Upstate’ dropped. Prison hit HARD, with jams so long and varied, they had to have two titles each and the album was only four songs long, one per side. ‘Upstate’ was heavy, but always the fun kind. And there are so many other kinds of heavy yet to be.

‘Downstate’, the second official Prison stint, shows you some, stretching to insane new places while pumping out even more of the toughest jams around. Leap-hogging from one vibe to the next, Prison cop a variety of grooves, from minimalist (like Guru Guru), sweat-shaking (Stooges) and chaotic (No Trend) - it feels like they’re coming from everywhere! They switched it up in almost every way they could this time. But that’s just Prison being Prison.

At its core, Prison are a multi-headed beast, and ‘Downstate’ is built to showcase their swarming freakscene. Recording this one in Rockaway meant they could get Prison family and friends to drop in. Going ‘Downstate’ with core Prisoners Sarim Al-Rawi, Matt Lilly and Paul Major are guitarists Marc Razo and Adam Reich, bassist Matt Leibowitz and Dave Smoota Smith on trombone (his first time ever in Prison). Also present is the late, lamented Sam Jayne, a fellow lifer whose spirit will act as a guide for the rest of Prison’s time. All he brought to the session was a bottle of tequila. He just wanted to jam - and on all borrowed stuff too. He didn’t care.

With this many hands on deck, Prison play all kinds of things, from insane distorted rock to dreamy psychedelia, plus some jazzy and gutsy blues shit too. They got some of the lighter side of Prison in there, of course, in addition to screaming and slamming. It was all recorded in a day, with a couple of overdubs, but it took a while to get the mixes right. There were a lot of moments that they didn’t know would lead to anything, but when listening back later, then they heard where they were going. All that had to get in there somehow. Plus, they had to get the drums and the reverb right.

Another level to the sound on ‘Downstate’ is in the hard cuts and savvy fades in the edit. Matt Lilly sequenced the mixes at home using two CDJs fed into a Numark DJ deck and dubbed down live to cassette, then they sent the tape to engineer Matt Walsh to duplicate timings and fades and all that. If you’re feeling overwhelmed by critical mass while you’re listening, this could be why. It’s for sure part of what makes these forty-three minutes of time give anyone who listens an entire night’s worth of dreams! Like trapdoors taking you from where you thought you were standing to someplace entirely different, wondering if what just happened was ten seconds or one million years long.

TRACK LISTING

Millions Of Armies (Wipe 'Em Out)
Crocodile (Alligator)
Traveling Lady (In Prison)
Up In A Tree
Eyes For Keys
That's My Noise
Where's My Food
In The Tall Grass
Made For You
Down To County

First time on vinyl for ‘Died In The Wool’, the 12 song remix companion to David’s 2009 album, ‘Manafon’, plus the non-album track “When We Return You Won’t Recognise Us”

Features remixes by David Sylvian, Dai Fujikura, Jan Bang & Erik Honoré.

'When We Return You Won’t Recognise Us' was specially commissioned by the 2nd Canary Islands Biennial of Architecture, Art and Landscape 2008-2009.

TRACK LISTING

1. Small Metal Gods
2. Died In The Wool
3. I Should Not Dare (for N.O.)
4. Random Acts Of Senseless Violence
5. A Certain Slant Of Light (for M.K.)
6. Anomaly At Taw Head
7. Snow White In Appalachia
8. Emily Dickinson
9. The Greatest Living Englishman (coda)
10. Anomaly At Taw Head (a Haunting)
11. Manafon
12. The Last Days Of December
13. When We Return You Won’t Recognise Us

First time on vinyl for ‘The Good Son Vs The Only Daughter (The Blemish Remixes), the 9 song remix companion of David’s 2003 solo album, ‘Blemish’.

Featuring remixes by Burnt Friedman, Sweet Billy Pilgrim, Royoji Ikeda, Readymade FC, Yoshihiro Hanno, Tatsuhiko Asano, Akira Rabelais, Jan Bang & Erik Honoré.

TRACK LISTING

1. The Only Daughter (Remixed By Ryoji Ikeda)
2. Blemish (Remixed By Burnt Friedman)
3. The Heart Knows Better (Remixed By Sweet Billy Pilgrim)
4. A Fire In The Forest (Remixed By Readymade FC)
5. The Good Son (Remixed By Yoshihiro Hanno)
6. Late Night Shopping (Remixed By Burnt Freidman)
7. How Little We Need To Be Happy (Remixed By Tatsuhiko Asano)
8. The Only Daughter (Remixed By Jan Bang And Erik Honoré)
9. Blemish (Remixed By Akira Rabelais)

Thin Lizzy's 'Acoustic Session', a groundbreaking new frontline album that brings together the legendary voice of Philip Lynott, the masterful guitar work of founding member Eric Bell, and the powerful original drum takes of Brian Downey. This unique project offers fans a rare opportunity to experience Thin Lizzy's classic hits like never before, with Lynott's previously unheard vocal takes perfectly complemented by Bell's fresh acoustic arrangements and Downey's dynamic drumming. Drawing on material from the band's iconic Decca era, the album revisits tracks from Thin Lizzy's first three albums, presenting them in an intimate, stripped-down format that is sure to captivate both longtime fans and a new generation of listeners. 

TRACK LISTING

1. Mama Nature Said
2. A Song For While I'm Away
3. Eire
4. Slow Blues - E.B.
5. Dublin
6. Whiskey In The Jar
7. Here I Go Again
8. Shades Of A Blue Orphanage
9. Remembering Pt. 2
Bonus Track
10. Slow Blues - G.M (Gary Moore) - 

More Water! More Damage! The second proper LP by this Texan juggernaut is even more biggerer than the first, a head-drowning pair of new “reels” (every Water Damage tracks generally take up a reel of tape, hence the “reel ____” song titles) that makes you feel like you’re swimming in a sun-drenched river of sound. Two drummers, two bassists, and tons of vibrating strings are once again a recipe for massive rocking-drone fires. “Two Songs” has two songs, and they’re kind of the yin/yang of Water Damage: one toned very low, growling and roaring, groaning over a beat, while the other hums high, troubling the treble clef and ringing like a bunch of church bells that don’t want to be in church. They’re more alike than different though, divining momentum from repetition, flying forward by staying in place, climbing a mountain that they’re building as they go. Enough ink has already been spilled about the previous-band pedigrees of the players in this hurtling collective, and by this point, the past seems way less relevant than the present when it comes to Water Damage’s present-pounding sound. These people know what they’re doing, sure. You don’t need a resume in front of you to figure that out. It’s there in every second of this gigantic, eternal music - in all the strings being bowed, the skins being slammed, the rumbles being rumbled. You might notice that this time around, Water Damage haven’t just given their tracks reel numbers. They're also called "Fuck This" and "Fuck That." I take that as instructional. Whatever you’re doing, whatever you’re fretting about, whatever someone’s trying to use to occupy your attention so you’ll buy something or vote for something or ignore something: Fuck This. Fuck That. Listen to Water Damage. - Marc Masters MAXIMAL REPETITION MINIMAL DEVIATION

STAFF COMMENTS

Barry says: A bruising set of drones and thumping free-jazz flavoured noise from Thor Harris and a selection of other noise / avant / art rock heads, encompassing a wide variety of off-piste grooves and acidic jams.

There is something really special about music based on drones. Whether it's the vocals of Pandit Pran Nath, the ARP 2500 of Eliane Radigue, or the nearly-blown amps of Sunn O))), by changing the listeners's focus on details to one that favors flow, drones are uniquely capable of transporting our brains far far away. The debut LP, 'Repeater', by this loudly droning Austin septet is a goddamn splendid example of how the process works. Using the motto, “Maximal Repetition Minimal Deviation,” Water Damage create glowing fields of post-rock lava that pretty much suck you right in and boil you alive. Water Damage, while technically a septet, actually operate in various configurations, with the proviso there should always be two drummers and two bass players on hand. They prefer if each of their sonic ideas takes up a whole reel of tape, and once they start they don't look back. Everything proceeds towards an imaginary end point that is only achieved when the tape starts flapping. What a way to run a railroad! But the folks in the band are all vets of various projects – Spray Paint, USA/Mexico, Marriage, Black Eyes, Thor & Friends, among others -- so let's assume they know what they're doing. And why not? They sound fucking great. Their approach to the form is less front-loaded than most of their peers, and the surface of their sound is sometimes ruffled by aural events of an un-drone-like nature. But the main gush is usually a blend of harmonic tones and textures pointing towards a goal that is just out of ear-shot, just over the next bluff, and perhaps forever just beyond our reach. So remember to drink plenty liquid while you spin this fine album. Nobody wants you to parch. --Byron Coley MAXIMAL REPETITION MINIMAL DEVIATION.

STAFF COMMENTS

Barry says: It's a little more melodic this one, but that's kind of like saying a dog can fly a little better than a horse. Noisy, clashing rock from Thor Harris and some others, encompassing aspects of noise, free-jazz and drone music.

The heyday of American baroque pop – or chamber pop - ran from 1966 to the turn of the seventies. It used string quartets, harpsichords and woodwinds to create a summer-into-autumn melancholy that was quite new, and quite far removed from rock‘n’roll as Eddie Cochran would have known it. Baroque pop’s musicians often came from a folk background, with an affinity for acoustic instrumentation. Linda Ronstadt's first band the Stone Poneys had introduced the autoharp to their line-up in 1965, while the likes of Bonnie Dobson and Nico experimented with string quartets, searching for different, post-electric Dylan directions.

You can trace it back to the Left Banke who created a sound that was soft but insistently sad - where were the guitars! Their guitarist Rick Brand claimed their lyrics "were written as rather self-consciously beautiful musical whimsy, as you find in the latter 18th-century Romantic music, pre-Beethoven". They had a huge hit with ‘Walk Away Renee’ and effectively invented a genre before combusting after just one album. Splinter group Montage produced a very rare album and singer Steve Martin Caro an equally rare single - both are represented on “American Baroque”.

Though the baroque sound was quickly forced into a corner by the back-to-basics stance of power trios like Cream and Blue Cheer, many musicians weren’t yet ready to ditch cellos and harpsichords. Some groups like the Blades of Grass aimed their minor key melodies at an early or even pre-teen following. And others like Emmit Rhodes' Merry-Go-Round, H.P. Lovecraft and Appaloosa simply loved the feel of string quartets and woodwinds and continued to explore orchestral pop further, into the early seventies.

In doing so, they created this tapestry of delights. There was no single blueprint for the American baroque sound – it could be bordering on the gothic (Russ Giguere of the Association’s extraordinary ‘My Plan’) or as small and precise as a music box (Tom Northcott’s ‘Other Times’).

Here is some of the most deeply atmospheric, original and enduring music of the late 60s. Incredibly, this is the first compilation of its kind. It has been compiled by Saint Etienne's Bob Stanley and has a booklet packed with rare photos and ephemera, plus thorough and enlightening sleevenotes.

TRACK LISTING

SIDE ONE
1. YOU'RE A VERY LOVELY WOMAN - The Merry-Go-Round
2. I SHALL CALL HER MARY - The Montage
3. RAGGEDY ANN - John Randolph Marr
4. TULU ROGERS - Appaloosa
5. TURNAWAY - The Pleasure Fair
6. DIFFERENT DRUM – The Stone Poneys Featuring Linda Ronstadt

SIDE TWO
1. EMILY'S ILLNESS - Nora Guthrie
2. BAREFOOT GENTLEMAN - The Association
3. LAND OF SENSATIONS & DELIGHTS - J.K. & CO
4. BLUE JACK OF DIAMONDS - H.P. Lovecraft
5. TIME - Bonnie Dobson
6. SATIN SLIPPER - The Blades Of Grass

SIDE THREE
1. MY SILENT SYMPHONY - Chris & Peter Allen
2. MR WEBSTER - The Monkees
3. AGAIN AGAIN - Eternity's Children
4. MY PLAN - Russ Giguere
5. THE FAIREST OF THE SEASONS - Nico
6. OTHER TIMES - Tom Northcott

SIDE FOUR
1. YOU LIED - The Neon Philharmonic
2. CLOSE TO CARMEL - The Fun & Games
3. HOME BEFORE DARK - Nora Guthrie
4. I HAVE BEEN ALONE - The Common People
5. TWO BY TWO (I'M LOSING YOU) - Steve Martin
6. LORELEI – Rosebud

Venomous Tex-Mex R&B and early rock n’ roll from San Antonio’s West Side scene. From 1961-67, Bexar county kingmaker Abe Epstein cut every teen combo to grace the Patio An daluz stage, launching the careers of Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners, and hundreds more throughout the decade. Spread across two luxurious slabs of vinyl, The Cobra Label compiles 28 neuro toxic sides from Epstein’s first bite in the biz.

TRACK LISTING

1. Sonny Ace & The Twisters - Wooleh Booleh
2. Mike & The Belairs Ft: Nyolia Moore - Buscando (Searchin’)
3. Royal Five - My Baby Cares For Me
4. J. Jay & The Dell-Tones - Just A Matter Of Time
5. Little Henry & The Laveers – I Don’t Want No Woman
6. Danny Segovia And The Sessions - Hey Babe
7. Dell Tones - Golly Gee
8. Sonny Ace & The Twisters - Stand-By Love
9. Henry & The Kasuals - Funny Funny Funny
10. The Royal Jesters With The Jimmy Johnson Combo - Is That
11. Good Enough For You?
12. Mad Mods - Warm And Tender Love
13. J. Jay & The Dell-Tones - If I Cry A Little More
14. The Dreamliners - Just Me And You
15. The Royal Jesters And The Memphis III - Love Me
16. Doug Sahm - Just A Moment
17. Henry & His Kasuals - Slowly But Surely
18. Dell Tones - The Best Man Cried
19. Royal Five - Someone Who Cares
20. J. Jay & The Dell-Tones - Too Late To Forgive
21. Shades McRay & The Invictas - Summer Is Here
22. The Royal Jesters With The Casuals - I Want To Be Loved
23. Sonny Ace & The Twisters - Fever
24. Rod Andrea & The Ram Rods - If It’s Lovin’ You Want
25. Little Henry & The Laveers - Break It To Me Now
26. Mike & The Belairs Ft. Nyolia Moore - She’s Mine
27. Dino & The Dell-Tones - Sticks And Stones
28. Henry & His Kasuals - Workout
29. Freddie Martinez - Summer Rain

A psych and garage-rock compilation record featuring 12 bands who have played one of Sour Grapes Records' hectic and sweaty SQUEEZE nights at Big Hands Bar, Manchester.

TRACK LISTING

1. Drunk Mums - Magazines
2. Ahmed & The Romans - Mathematics
3. Dead Stilettos - Dead Stilettos
4. Slap Rash - Protective Paints
5. Wax Head - Rusty Cutter
6. A/lpaca - Inept
7. Hot Garbage - Look At My Phone
8. Delivery - Baader Meinhof
9. Dr Sure's Unusual Practice - Infinite Growth
10. Chemtrails - Sycophants Paradise
11. Fruit Tones - Back In The Night Again
12. Naked Soft Men - Bad Daddy