SLAG joined hands on the Brighton seafront in September 2023 and brought their music to the people 2 months later. Since then, they have cemented themselves as a household name of the Brighton music scene and are continuously working on getting their sticky fingers in the pies of other cities across the UK and the world.

The band is comprised of Amelie Gibson (guitar and vox), Seb Cooper (Keys and Bvs), Luke Martin (Drums), Freya Eastcott (Bass and Bvs) and Dan Phillips (guitar). They all like each other very much and this is why they don’t mind going on tour in a car that only has 3 doors. The music they make is a glorious Frankenstein of influences that looks a little bit like prog rock in the right lighting. When they perform it’s like watching the Winx Club reach their full potential through the irrefutable power of friendship.

SLAG won’t tell you that they’re the best because they don’t feel qualified to make your mind up for you, but with outstretched arms they invite you to see for yourself.

TRACK LISTING

Side A
Face Off
Losing
Still Here
Private Gyno
Dislocated

Side B
1. Ripped
2. Heaven
3. Legs

Back once more, Digwah supplies dancefloor weapons for the movers, shakers, and after-hours heroes.

TRACK LISTING

A1. Edgy
B1. Heavy Monster Sound

In MX LONELY’s world, monsters are multifaceted things. They’re the creatures we used to imagine lurking in the shadows as a child; the all-too-real evildoers who abuse their power or line their pockets with suffering; the vices and flaws that we grapple with throughout our lives, and what we can become while under their grip. On their debut full-length album 'ALL MONSTERS', the Brooklyn-based band search dark corners, force open doors and exhume these monsters, via a heavy, murky alt-rock sound that’s equally streaked with beauty.

As their first entirely self-recorded release, 'ALL MONSTERS' sees the band — synthesist/vocalist Rae Haas, guitarist Jake Harms bassist Gabriel Garman and drummer Andy Rapp — capturing a live, immediate, analogue sound which embodies the feeling of their live show, while also creating a more longform and nuanced experience than they have before. Going forward, they aim to keep heading out on the road and building a community based on mutual catharsis. “I think that’s kind of the manifestation or the prayer in this, is for everyone to have the space and tools to work through their own monsters,” Haas says. Though committed to introspection, ultimately MX LONELY want to bring others into their world.

TRACK LISTING

1. Kill The Candle
2. Big Hips
3. Shape Of An Angel
4. All Monsters Go To Heaven
5. Blue Ridge Mtns
6. Anesthetic
7. Return To Sender
8. Whispers In The Fog

Glasshouse Red Spider Mite share their much awaited debut EP ‘What Do You Mean The Monster?… Hahaha’ on its first vinyl pressing.

Recorded by Louis Milburn (Folly Group) - a “one of a kind friend & talented producer” according to bassist Alex - in the back of an audio equipment shop, the EP is a diverse but cohesive collection of slow-burners, delivering an incredibly well-developed exploration of instrumental and lyrical storytelling, and the band’s longstanding musical relationships with each other.

Growing up together in Devon, and initially forced together by the encouragement of a secondary school music teacher, Glasshouse Red Spider Mite began in earnest in 2023 in Brighton. Their first two singles in 2024 created a buzz in the local scene and industry; with this EP they have attempted to create their first signature body of work, and plant their flag in the ground. The band say “The songs were written before we even dreamt of playing our first shows, let alone before seeing the release of our first music as a band. No one knew about these songs & we weren't exactly sure if people would one day hear them. They only existed between us four until we found the courage to give this band a go.”

Drummer Benji explains that the EP is “a testament to our friendship, a strong bond & commitment to the cause. A vessel for therapy - helping each other keep mobilised, in belief & pushing towards a collective objective or something out of our individual control or capacities… an emotional outpouring of vulnerability, absolute honesty & healing.”

The EP immerses the listener, carefully rising from tense beginnings into unflinching heights. Guitarist Ethan says that the songs “all help to tell a story from a time that feels hard to put into words.” Each rhythm is a fault line waiting to crack open. Despite this, the tracks manage to remain sensitive in their delivery, through layers of swelling guitar, atmospheric strings and insistent percussion. Slow-building, deliberate, and massive in its impact. The band say this EP is about “facing all the pieces of yourself that you’ve let run riot. It’s about revealing yourself to yourself. Questioning your judgements & challenging your laurels. Using past pain to build a fear-free future. It’s post-rock. It’s the sound of the hole in your heart & the pit in your stomach.”

On ‘What Do You Mean The Monster…’ the band have tried to “encapsulate the highs & lows which the 'monster' that life seems to be, swallows you whole… there's been a lot of change, turbulence & learning to understand ourselves, which we think is trapped in the music we make.”

‘What Do You Mean The Monster?… Hahaha’ is available for the first time vinyl, containing a 20+ minute physical exclusive track ‘Spider Mite Season’. It is the band’s first release on London indie label, Memorials of Distinction, whose previous releases include Porridge Radio, caroline, Grove, Naima Bock, Kiran Leonard, and JPEGMAFIA.

In the wake of the EP, Glasshouse Red Spider Mite had sold out headline shows in London (Third Man) and Brighton (Alphabet), followed by their festival debut playing 2 sets at End Of The Road Festival, followed by their international debut at 043 in Maastricht, and then supporting Dutch Interior on their UK tour. This followed supporting Porridge Radio’s UK tour in 2024.

TRACK LISTING

Side A
Everyone Loves You
Ant Mill
Time For Change
I’m Batman

Side B
Spider Mite Season

Tulpa are very new: nothing has been released up until now, not even a digital single. Despite this, they attracted the attention of Marc Riley & Gideon Coe, who invited the band to record a live BBC6 Music session this summer. Around the same time, Skep Wax Records were sent the finished album and knew they had to release it. Meanwhile, in the creative hotbeds of the UK’s DIY festivals and indie venues Tulpa are quickly gathering a loyal following. 

What is a Tulpa?

It’s a mythical being manifested into existence through the act of concentrated thought, like an imaginary friend brought to life, but (sometimes) scarier…

This album has some of the same qualities. A whole set of loud, catchy, perfectly-crafted pop songs have been conjured into existence - and want to be part of your life. Josie’s hyper-melodic lead vocals are cool and crystalline - but the lyrics are warm and human. The twin guitars create a sonic mesh, a web of textures that traps you, whether you like it or not. And yes, something scarier does lie below the surface. Occasionally the guitars force their way to the front, furious and intense. And sometime those lyrics aren’t as innocent as they first appear. The danger, just below the surface of the songs, is maybe that’s what makes this album so arresting…

First single ‘Let’s Make A Tulpa!’ is an upbeat crunchy pop song that explodes into a huge chorus, somewhat in a Breeders vein, that will encourage sober people to throw themselves around their living rooms. ‘Psyops’ is gentler, but spooky and equally compelling, with echoes of Yo La Tengo: hypnotic in the extreme. ‘Amateur Hour’ is a lilting, gentle confessional. By contrast, ‘Raw Nerve’ is all frenzied guitars, and may remind seasoned listeners of the spiky excitement of Josef K.

Tulpa consist of Josie Kirk (vocals, bass), Daniel Hyndman (guitar), Myles Kirk (guitar) and Mike Ainsley (Drums), and are based in Leeds.

It was recorded by Jamie Lockhart (The Cribs, Mush, Drahla), the first to be produced at his new studio at Lamigo Bay, in the Highlands of Scotland.

TRACK LISTING

1. Theme
2. Transfixed Gaze
3. Psyops
4. Pyro
5. Let’s Make A Tulpa!
6. Monster Of The Week
7. Stick Figure Boy
8. You’re Living In A Reverie
9. Amateur Hour
10. Raw Nerve
11. Whose Side Are You On?

THIS IS A BLACK FRIDAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 28th FROM 10AM ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 29th).

Led by singer/guitarist/songwriter Todd Park Mohr, Big Head Todd and The Monsters have been mainstays of the jam band scene for 35 years, bringing their easygoing blend of blues, funk, and rock to stages across the country (and are touring right now!). So, you’d think 'Sister Sweetly', the biggest album of their long and illustrious career, would have made it to wax a long time ago. We mean, like a LONG time ago. After all, this 1993 release went platinum, spawned three hit singles in 'Bittersweet', 'Broken Hearted Savior', and 'Circle', and stayed on the charts for over a year! But, go figure, it hasn’t…so finally we at Real Gone have hooked up with the band to put this ‘90s classic on vinyl. Sea blue vinyl, to be exact, remastered for the format with an insert with lyrics to boot. Limited to 3000 copies!

TRACK LISTING

1. Broken Hearted Savior
2. Sister Sweetly
3. Turn The Light Out
4. Tomorrow Never Comes
5. It’s Alright
6. Groove Thing
7. Soul For Every Cowboy
8. Ellis Island
9. Bittersweet
10. Circle
11. Brother John

'All Is Love and Pain in the Mouse Parade'. It may sound a little strange, but the title and beating heart of Icelandic indie-folk collective Of Monsters and Men’s fourth album hits a lot closer to home than you’d expect. A tapestry of stories, moments, and conversations, the album explores how love and pain intertwine. Feelings that might seem at odds with each other, but co-exist simultaneously and need one another. Tales both big and small — from the loneliness and longing of living in a block surrounded by strangers, to missed connections in a grocery store, to the lives and losses of a community of mice in a vacant house during winter.

Of Monsters and Men went from Reykjavík to the global stage with their breakout 2011 debut 'My Head Is An Animal', which propelled them from Icelandic indie darlings to international chart-toppers. The album’s breakout single 'Little Talks', a defining song for a generation, now boasts over 1 billion Spotify streams.

Amid their meteoric rise, the band released their sophomore album 'Beneath The Skin' in 2015, which debuted in the Top 3 of the Billboard 200 and was accompanied by a surprise cameo on HBO’s huge hit series Game of Thrones. Their cinematic sound has popped up everywhere from The Hunger Games to The Secret Life of Walter Mitty, while their festival appearances — Coachella, Glastonbury, Lollapalooza, and more.

Over a decade in, the band have gone from folk-tinged newcomers to digital-era mainstays, with 9 million monthly listeners on Spotify and a new generation discovering that Iceland’s beauty extends beyond fjords and thermal baths. 

TRACK LISTING

1. Television Love
2. Dream Team
3. The Actor
4. Tuna In A Can
5. Barefoot In Snow
6. Fruit Bat
7. Kamikaze
8. The Towering Skyscraper At The End Of The Road
9. Ordinary Creature
10. Styrofoam Cathedral
11. The Block
12. Mouse Parade
13. The End

Monster Florence have always operated on the edge of genre, blending hip-hop, punk, and anything that fits the moment into something uniquely their own. Their last album, 'Master System', earned critical acclaim for its barbed lyricism and dark, cinematic atmosphere, capturing the anxieties of the digital age. Since then, the six-piece from Colchester has taken their explosive live show across two UK tours and their first European tour. Now, with their new EP, 'Petty Cash', they push their sound even further.

A currency for the careless, 'Petty Cash' captures the thrill of fleeting pleasures. The EP moves through the highs and lows of excess and aftermath. It’s the sound of nights that blur together, moments that slip through your fingers, and the echoes they leave behind. 

TRACK LISTING

1. PINKY
2. JONNY
3. WHITE NOISE
4. INTERLUDE
5. STATE (OF U)
6. TOOTHSKIN
7. 01206-SCATTI
8. BLUE

Liverpudlian math-rockers Alpha Male Tea Party are known for their effervescent, sprightly buoyant riffs and droll onstage tomfoolery, as well as their reputation as the party animals of the scene. In 2014 the trio released their sophomore album 'Droids', a record that bursts with bright, crunchy guitar licks that spiral around meaty bass lines and crackling drums in a brilliantly fiery mess. High praise came from the likes of Metal Hammer, Total Guitar, The Skinny and Prog Magazine, with Rocksound claiming “"tear-jerkingly beautiful... furious, and all in all, it's pure, 18-carat fun. Fun is never a bad thing, right?" - 8/10. To celebrate 10 years of the release, it is back on vinyl at long last.

TRACK LISTING

1. Happy As Larry, Larry Is Dead
2. You Eat Houmous, Of Course You Listen To Genesis
3. Theme From Mastermind
4. Judas The Tenderiser
5. Athlete's Face
6. You Are My The Rock
7. Your Happiness Was Stored On A Hard Drive And Is Now Corrupt
8. Reach For The Stars Kid But Don't Blame Me If It Makes You Miserable
9. God Is Love But Satan Does That Thing You Like With His Tongue
10. I Haven't Had A Lunch Break Since Windows Vista Came Out

Introducing the iconic "Monster Mash" album by Bobby Pickett, now remastered and pressed on mesmerizing glow-in-the-dark vinyl!

The eternal Halloween classic ‘Monster Mash’ is included alongside further spooky delights of classic hits like "Transylvania Twist" and "Graveyard Shift".

TRACK LISTING

A:
Monster Mash
Rabian The Fiendage Idol
Blood Bank Blues
Graveyard Shift
Skully Gully
Wolfbane
Monster Minuet

B:
Transylvania Twist
Sinister Stomp
Me & My Mummy
Monster Motion
Monster Mash Party
Irresistible Igor
Bella's Bash
Let's Fly Away

Formed in 1987 Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary.

Hot on the heels of their No. 1 album '1992 The Love Album', which propelled the band to pop stardom, Carter USM returned with 'Post Historic Monsters'. To move away from the sound they had become known for, the band explored new musical styles with Jim Bob beginning to write more personal lyrics. The results were met with critical acclaim, and the album climbed to No. 5 on the UK album charts.

This new edition features the complete album newly remastered on CD 1, including the singles 'Lean On Me I Won't Fall Over' and 'Lenny And Terrence'. CD 2 features rarities, B-sides, and the single 'Glam Rock Cops', whilst CD 3 boasts a new live album 'Up Pompey! - Live In Portsmouth' recorded on tour in 1993. Completing the set is a DVD featuring promo videos, Top Of The Pops appearances, plus a recently unearthed recording of the band playing at their spiritual home, Brixton Academy, during the Post Historic Monsters tour. All appearing on DVD for the first time and accompanied by exclusive new commentary by Jim Bob and Fruitbat.

TRACK LISTING

LP Tracklist:
1. 2 Million Years B.C.
2. The Music That Nobody Likes
3. Mid Day Crisis
4. Cheer Up, It Might Never Happen
5. Stuff The Jubilee!
6. A Bachelor For Baden Powell
7. Spoilsports Personality Of The Year
8. Suicide Isn’t Painless
9. Being Here
10. Evil
11. Sing Fat Lady Sing
12. Travis
13. Lean On Me I Won’t Fall Over
14. Lenny And Terence
15. Under The Thumb And Over The Moon
16. Glam Rock Cops
17. Hit
18. Always The Bridesmaid Never The Bride
19. Her Song
20. Commercial Fucking Suicide (Part 1)
21. Stuff The Jubilee (1977)


CD1: Post Historic Monsters (2024 Remaster):
1. 2 Million Years B.C.
2. The Music That Nobody Likes
3. Mid Day Crisis
4. Cheer Up, It Might Never Happen
5. Stuff The Jubilee!
6. A Bachelor For Baden Powell
7. Spoilsports Personality Of The Year
8. Suicide Isn’t Painless
9. Being Here
10. Evil
11. Sing Fat Lady Sing
12. Travis
13. Lean On Me I Won’t Fall Over
14. Lenny And Terence
15. Under The Thumb And Over The Moon

CD2: Singles & B-Sides:
1. Lean On Me I Won’t Fall Over (Radio Version)
2. Hit
3. Always The Bridesmaid Never The Bride
4. Lenny And Terence (Sexy Daytime Radio Mix)
5. Her Song
6. Commercial Fucking Suicide (Part 1)
7. Stuff The Jubilee! (Extra Special Radio Only Version)
8. Glam Rock Cops
9. Glam Rock Cops (Kojak Dub)
10 .Glam Rock Cops (Regan And Carter Mix)
11. Glam Rock Cops (Sweeney Instrumental)

CD3: Up Pompey! – Live In Portsmouth:
1. 2 Million Years B.C.
2. Spoilsports Personality Of The Year
3. Mid Day Crisis
4. My Second To Last Will And Testament
5. Rubbish
6. Cheer Up, It Might Never Happen
7. A Bachelor For Baden Powell
8. Say It With Flowers
9. Do Re Me, So Far So Good
10 .The Only Living Boy In New Cross
11. The Taking Of Peckham 123
12. Travis
13. After The Watershed (Early Learning The Hard Way)
14. Bloodsport For All
15. Lean On Me I Won’t Fall Over
16. Lenny And Terence
17. Suicide Isn’t Painless
18. Sheriff Fatman
19. Stuff The Jubilee!
20. G. I. Blues.

DVD: Live At Brixton Academy ‘93: The Official Bootleg

‘Small Time Monsters’, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.

If 2022’s critically-acclaimed debut album ‘Thank God! It’s The Dream Machine…’ was their first and most wild child, then ‘Small Time Monsters’ is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies.

Lead single Frankenstein is an anthem for the sugar-rush generation, an infectious, rattling earworm that recalls everything from haunted rockabilly to the sun-drenched melodies of Blossoms. Elsewhere on the album, the pulsating surf-stomp of ‘Cindy’s Eyes’, a small-town story of unrequited love, has a chorus to fill the most cavernous arena.

Produced by The Coral’s James Skelly, the album was partially recorded at The Dream Machine’s rehearsal space, then stitched together in Skelly’s
Kempston Street Studios. There’s a refined, more literary quality to singer and primary songwriter Zak McDonnell’s lyrics; explorations of everyday life, teenage doom, B-movie monsters, family turmoil, and coming-of-age tales in the familiar backdrop of life in modern Britain. ‘Small Time Monsters’ is the sound of a band breaking free from the small town into the big world.

STAFF COMMENTS

Barry says: Bold, inventive psychedelic indie that clearly draws influence from the North West's rich musical heritage, and displays that influence without ever sounding like a pastiche. Crisp, full of warmly familiar melodies and brilliantly conceived harmonies.

TRACK LISTING

Side A
1. Frankenstein
2. Cindy’s Eyes
3. My Father’s Son
4. Holding On
5. Cathedral
Side B
6. Tonight, I’ve Got Heaven In My Arms
7. Posters Of You
8. Wind-Up Bird
9. The Horse
10. Wolfman
11. Bring Back The Wonder

Monsters of Folk - comprised of Jim James (My Morning Jacket), M. Ward, Conor Oberst and Mike Mogis (Bright Eyes) - released their first collaborative album in 2009. The set was recorded in Malibu and Omaha with all four members playing every instrument. It marked their only recorded output as a band. This reissue features revised artwork, the original 15-song record plus 5 unreleased studio tracks from 2012, intended for a never-finished 2nd album, and featuring "5th Monster" Will Johnson.

TRACK LISTING

1. Dear God
2. Say Please
3. Whole Lotta Losin'
4. Temazcal
5. The Right Place
6. Baby Boomer
7. Man Named Truth
8. Goodway
9. Ahead Of The Curve
10. Slow Down
11. Losin' Yo Head
12. Magic Marker
13. Map Of The World
14. The Sandman
15. His Master's Voice
16. Dear To The Assassin
17. Sweet Silence
18. The Living Thing
19. Museum Guard
20. Disappeared

Following the release of her debut album, Stay Alive (2020) and the At War With The Silverfish EP (2021), Emmy-nominated artist, author, musician, activist and Against Me! founder/songwriter, Laura Jane Grace, returns with Hole In My Head - her beautiful new album featuring eleven tracks that showcase her undeniable power as a songwriter & storyteller. The album features her most personal and emotionally gripping songs of her career - stripped down masterpieces like Dysphoria Hoodie paired with blistering distorted anthems like Hole In My Head and Birds Talk Too, tracks that demand the listener’s attention with an immediacy and urgency unlike anything Grace has written before.

Recorded at Native Sound in St. Louis, Missouri by David Beeman and mastered by Matt Allison (Lawrence Arms, Rise Against), the album is a sonic curio cabinet containing multitudes. Featuring warm 50s-rock-influenced guitar riffs and rock style melody a la Jonathan Richman and Eddie Cochran, saved-for-later lyrics, love letters to St. Louis, dysphoria apparel, and thoughtful reflections on a punk life lived, Grace's forward vocals are backed predominately by her performances on guitar and drums but are bolstered by Drive By Trucker's bassist Matt Patton.

The record's title track Hole in My Head takes off with a driving guitar-heavy approach that will be welcome to long-time fans of Against Me! electric machinations, while first single Dysphoria Hoodie has been a staple in Grace’s setlist, and one which is as personal as it is pertinent in today’s climate.

Choice cuts I’m Not A Cop and Punk Rock In Basements are written through a post-pandemic rose-colored lens, the latter looking back on the formative underground spaces of Grace’s youth. Basement shows for decades were hallmark experiences for anyone involved in their local punk scenes, shaping movements, connections, and culture through the forced, sweaty proximity necessary to pour over raucous punk music.

Hole in My Head is a record which captures the nuances of humanity and experience in a strangely optimistic manner. The lightness of its influence and the journalistic recollection of experience set against a battered and warm folk-punk delivery from beginning to end makes Hole in My Head a fun comfort. It is a welcome embrace of life and just the start of a new chapter in Laura Jane Grace’s raucous journey.

STAFF COMMENTS

Barry says: Laura Jane Grace's journey has been a storied one, starting her career in one of the most beloved new wave punk rock bands in the late 90's, and ending up as a prolific and gifted composer, multimedia artist and writer. 'Hole In My Head' is once again a brilliantly balanced, fiery and dynamic solo outing from Grace.

TRACK LISTING

Side A
1. Hole In My Head
2. I'm Not A Cop
3. Dysphoria Hoodie
4. Birds Talk Too
5. Punk Rock In Basements
Side B
1. Cuffing Season
2. Tacos & Toast
3. Mercenary
4. Keep Your Wheels Straight
5. Hard Feelings
6. Give Up The Ghost

40th anniversary vinyl edition of Southern Californian punk pioneers Social Distortion’s debut album Mommy’s Little Monster. Newly mastered from the original analogue tapes and pressed on 180-gram vinyl, the album contains the nine original songs, including title track “Mommy’s Little Monster” and single “Another State of Mind”, and is newly packaged in a gatefold jacket to match the original release.

TRACK LISTING

1. The Creeps
2. Another State Of Mind
3. It Wasn't A Pretty Picture
4. Telling Them
5. Hour Of Darkness
6. Mommy's Little Monster
7. Anti-Fashion
8. All The Answers
9. Moral Threat 

Originally released in 2007 in CD format only, 'Part Monster,' produced by Guy Fixsen of Laika and producer of the likes of My Bloody Valentine, The Breeders, Pixies and many more, is a hybrid of noisy alternative rock, post- rock and dark folk. This album follows recent successful vinyl re- issues of other Piano Magic albums, 'Artists' Rifles,' 'Writers Without Homes,' 'The Troubled Sleep Of Piano Magic' and 'Son De Mar' and is the last of the band's studio albums to be released on vinyl.

Forming as a lo-fi electronica trio in 1996, Piano Magic's first EP, 'Wrong French' was a favourite of John Peel's (they later recorded a Peel Session for him) and a Single Of The Week in Melody Maker. By 2000, they'd become a full, touring alternative rock group, recording 2 albums for 4AD Records : the soundtrack to Spanish director Bigas Luna's 'Son De Mar' film and 'Writers Without Homes,' most notable for featuring the first recording in 30 years of long-lost folk doyenne, Vashti Bunyan. The album also saw the band's second collaboration with John Grant, back then far from the critically acclaimed torch singer of today. Further collaborators throughout the years included Alan Sparhawk of Low, Brendan Perry of Dead Can Dance, Cornershop, and Tarwater.

TRACK LISTING

1. The Last Engineer
2. England's Always Better (As You're Pulling Away)
3. Incurable (Reprise)
4. Soldier Song
5. The King Cannot Be Found
6. Great Escapes
7. Cities & Factories
8. Halfway Through
9. Saints Preserve Us
10. Part Monster

The More I Sleep The Less I Dream marks a new chapter in We Were Promised Jetpacks’ career. It’s about going back to the heart of who they are, a high school band that never stopped. It’s about four people who have grown up together, making a conscious choice to keep writing music and seeing where that takes them. Sometimes you have to go back to basics in order to find yourself again. But once you have, then what? It’s one thing to say you want to take a step forward, it’s a much more daunting prospect actually doing so. The More I Sleep The Less I Dream contains the essence of what the band have grown into, both as artists and as people. They’ve taken their experiences, both from their ten years as a touring band and from the changes in their personal lives, and forged them into an album that represents a new phase for the band.

STAFF COMMENTS

Barry says: Swooning shoegazey melodies, throbbing bass guitar and those unmistakeable vox, We Were Promised Jetpacks provide a thrilling and multi-faceted listen, dynamic and exciting but eminently listenable. Brilliant stuff.

TRACK LISTING

1. Impossible
2. In Light
3. Someone Else's Problem
4. Make It Easier
5. Hanging In
6. Improbable
7. When I Know More
8. Not Wanted
9. Repeating Patterns
10. The More I Sleep, The Less I Dream

We wrote and recorded Enjoy The View in the first 8 months of the pandemic, initially working separately before joining up in the studio to finish the album. We always felt like this album was a chance for us to try some things out and approach writing music together differently than we had done before. After getting back out on the road again we thought it may be fun to revisit some of those songs and take another new approach. So after our mammoth six-week tour of North America finished in April 2022 we decided to have another crack at some of these songs and see where else we could take them. Our idea for this EP was to go into the studio and just see where we went from there… I think making music is just making hundreds of tiny decisions that ultimately give the final feeling and sound of a song. We have absolutely loved playing music and spending more time with Andy Monaghan and jumped at the chance to head into the studio with him and make some different decisions! We also thought it would be great to see where other people could take some of those songs and are so delighted that we’re lucky enough to have Andy, Manchester Orchestra and Zoe Graham put their own spin them and make them something that we could never have done.

TRACK LISTING

1. If It Happens (Manchester Orchestra Remix)
2. Fat Chance (EP Version)
3. Nothing Ever Changes (Andy Monaghan Remix)
4. If It Happens (EP Version)
5. Fat Chance (Zoe Graham Remix)
6. All That Glittered (EP Version)

Born from the Red Bank of New Jersey, the early days of Monster Magnet were a cosmos away from the major-label, alternative rock boom that would suck the band into the shiny MTV world of the early to middle 90s. Originally formed by Dave Wyndorf, John McBain and Tim Cronin, Monster Magnet lysergic oozed into the world in 1989 with two demo tapes – ‘Forget About Life, I’m High On Dope’ and ‘I’m Stoned, What Ya Gonna Do About It?’ – making it perfectly clear from the start where they were coming from. This was a band revelling in bad trips and the death of the hippy dream with a Manson Family stare, playing squelchy lo-fi psychedelic music with a rabid punk rock sneer, like The Stooges terrorising Hawkwind at the most unpleasant free festival imaginable. There were tales of entire audiences at their gigs being spiked with LSD. It didn’t matter if this was true or not, it all added to the mystique. This was indeed a satanic drug thing, you wouldn’t understand.

Those two demos formed the base of what would become their pivotal ‘Spine Of God’ album from 1991 and the ’25…Tab’ EP, which featured the mesmerising 32-minute opus itself, ‘Tab’.

Long considered to be the true essence of Magnet’s early psychedelic voyages, ‘Tab’ is finally returning to earth’s stratosphere with the release of ‘Test Patterns: Vol.1’,

‘Test Patterns: Vol. 1’ features a 2021 remix of ‘Tab’ by John McBain, alongside the original demo, recorded in 1988 and then released on the aforementioned ‘Forget About Life, I’m High On Dope’ in 1989.

“When Magnet started, John and I worked in record stores in Red Bank and Dave worked in the comic bookstore and we made a lot of tapes for each other,” recalls Tim Cronin. “A lot of ‘check this shit out’ kind of stuff…Hawkwind, early UFO, Amon Duul, Can, Skullflower, Morgen, Loop, Crystalized Movements, early Alice Cooper, Walking Seeds, Butthole Surfers, Spacemen 3. When we recorded the first demo and got to TAB, we just beat the shit out of it until it became heavy, noisy, weird, mean and either too long or not long enough, depending on your mood. Everything we wanted in a song (at least everything I wanted in a song), punishingly psychedelic. Jersey Shore krautrock.”

TRACK LISTING

Tab (2021 Remix)
Tab (original Demo, Recorded In 1988 & Released On 1989's ‘forget About Life, I’m High On Dope’)

2004 saw the release of Monster Magnet’s sixth studio album Monolithic Baby, the follow-up to 2000’s “God Says No”, which cemented the Red Bank, NJ rockers in the world of space rock and roll. This 14-track journey of masterful hard rock features 11 ripping originals and three cover songs recorded in true classic Magnet style, including covers of The Velvet Underground, David Gilmour and Robert Calvert. Monolithic Baby is being reissued on August 19th via Napalm Records on orange vinyl with white and black splatter, as well as in a limited glow in the dark vinyl variant! Don’t miss the album Ultimate Classic Rock calls “a revitalized, fire-breathing Monster Magnet” and All Music calls “another collection of undeniably Wyndorfian tunes.”

TRACK LISTING

1. Slut Machine
2. Supercruel
3. On The Verge
4. Unbroken (Hotel Baby)
5. Radiation Day
6. Monolithic
7. The Right Stuff
8. There's No Way Out Of Here
9. Master Of Light
10. Too Bad
11. Ultimate Everything
12. CNN War Theme

Recorded in four different studios (Sound City Studios, American Studios, The Sunset Lodge and Hydeaway Studios) throughout 2006-2007, 4-Way Diablo is the seventh offering from legendary riff masters Monster Magnet. Featuring rippers such as “Wall of Fire,” “You’re Alive,” and a cover of an obscure Rolling Stones song “2000 Lightyears From Home,” 4-Way Diablo is a true gem in the Monster Magnet catalog. The album is being reissued on August 19th via Napalm Records on white vinyl with gold and black splatter, as well in a limited, special glow in the dark vinyl variant! Don’t sleep on an album Blabbermouth called: “A mix of MAGNET styles old and new, it still bears the unmistakable stamp of one of stoner rock’s most identifiable and unique voices.”

Since releasing 2018’s ‘The More I Sleep The Less I Dream’, We Were Promised Jetpacks’ Adam Thompson, Sean Smith and Darren Lackie have embraced change head-on. Amicably parting ways with guitarist Michael Palmer marked a transitory moment in the band’s acclaimed career, one that would be cemented by events to come. Entering 2020 as a trio with a handful of songs written and a small tour under their belts, the world around them came to a sudden halt. Yet despite the unquestionable hardship that the lockdown brought with it, for a band looking to rebuild following a dramatic change, it also proved to be a blessing in disguise. “I guess it ended up being a lot more collaborative between the three of us,” Sean notes of their fifth studio record, ‘Enjoy The View’.

As well as providing the space to think more broadly about their own roles in the band, isolation also allowed them to approach their collective sound in new ways. “If you’re trying to write a part when two other people are smashing their instruments it’s not the easiest thing,” Adam laughs. “Writing remotely, you could mute parts and work on things in your head. It just gave us a bit more creative freedom to try different things.” With the space to focus on the structure of the songs over what is immediately possible in a practice room, the band shifted gears. “We’ve always considered ourselves a live band more than a studio band,” Darren notes, explaining how the past twelve months have forced a change. “This was more about focussing on making a really great album rather than thinking about how we play it live.”

Fifteen years into their career, the trio are more focussed than ever. “We are doing this for ourselves and the people who like our music and get something out of it,” Adam gleams, “I’m really excited about being able to show them the new record.” “We’re all very appreciative of the people who are still listening to us,” Darren adds, “it pushes us to keep getting better”.

TRACK LISTING

1. Not Me Anymore
2. Fat Chance
3. All That Glittered
4. Don't Hold Your Breath For Too Long
5. What I Know Now
6. If It Happens
7. I Wish You Well
8. Blood, Sweat, Tears
9. Nothing Ever Changes
10. Just Don't Think About It

Monster Magnet's A Better Dystopia dominates with a psychotic selection of proto-metal and psych-rock obscurities! "Take a trip inside the mind of psychedelic rock legend Dave Wyndorf with Monster Magnet's A Better Dystopia – a delightfully psychotic selection of proto-metal and late-era psych songs that fit the band like a glove! With wonderfully obscure song choices and excellent sequencing, the mighty Magnet pay homage to some of their favorite songs of all time, crafting another exciting and unique listening experience alike what they’ve become famous for. While the album marks a new frontier for Monster Magnet as their first covers record, this is not your typical set of standards released to pass time. Wyndorf is at the top of his game on A Better Dystopia – howling, crooning, speaking… whatever it takes to get the emotional message of these very special tunes across, delivering each lyric in his own inimitable style. Musicians Phil Caivano, Bob Pantela, Garrett Sweeney and Alec Morton own the sound on A Better Dystopia – vintage and old school, dense and heavy, with searing fuzz leads and pounding bass and drums all played in a deft style that's almost been lost in modern music..

TRACK LISTING

1. The Diamond Mine
2. Born To Go
3. Epitaph For A Head
4. Solid Gold Hell
5. Be Forewarned
6. Mr. Destroyer
7. When The Wolf Sits
8. Death
9. Situation
10. It’s Trash
11. Motorcycle
12. Learning To Die
13. Welcome To The Void

Sophia Kennedy’s music sometimes sounds like a soundtrack to a world disintegrating, hanging on by a thread of memories, it combines the glamour and the morbid charm of tin pan alley show tunes from the 1960s or 70s and yet it fully embraces the deconstructed modernism of club music. Her new album Monsters, is full of plot twists, moments of prettiness dashed with paranoia. The title itself, is a self-ironic, comic-like commentary of being an artist trying to tame own creations like “monsters” gone wild but also a nod to a generally threatening tension in the world. Monsters is pop music teetering on the verge of ruin.

Kennedy’s creative approach has always been unusual. Growing up in Germany after her family emigrated from Baltimore, she developed an ear for off-centred songcraft picking through her mum’s record collection: Whitney Houston and Simon & Garfunkel at first, Karen Dalton and the Velvet Underground later. With no equipment to hand, she started recording audio on a camcorder, blurring the lines between music and her other passion, film. Obsessed with the work of John Cassavetes and 70s horror films like Carrie, Kennedy moved to Hamburg to study film and ended up making music for theatre productions. Her involvement in the local creative community led her through the doors of the “Golden Pudel”, a techno nightclub. Immersed in Hamburg’s dance music scene she met Mense Reents, a musician best known for his work with the celebrated house act, Die Vögel. The pair formed a writing and production partnership, and would make Sophia’s eponymously-titled debut record together in 2017 which was released through DJ Koze’s label Pampa.

One step further is where Kennedy has taken her sound on Monsters. It’s full of hints of a former life, abstract melodic turns, instrumentation that shouldn't work, but does, wrongness that’s right. “Seventeen” is acid-washed Americana with creeping sub-bass, closer “Dragged Myself Into The Sun” is a full-on left hook, drones stacked like lasagna and pumped with steroids. There is pop centre pieces like “I Can See You” and the velvet-lined anthem “I’m Looking Up”, dealing with grief and death, recalling the rawest edges of Krautrock and, for Kennedy, nods to Baltimore artists Panda Bear and the strange currencies of Animal Collective.

TRACK LISTING

A1. Animals Will Come
A2. Orange Tic Tac
A3. I Can See You
A4. Francis
A5. Seventeen
A6. Loop
B1. I’m Looking Up
B2. Chestnut Avenue
B3. Do They Know
B4. Cat On My Tongue
B5. Brunswick
B6. Up
B7. Dragged Myself Into The Sun

When Claud Mintz’s mother finally heard the 13 songs on her kid’s magnetic first album, Super Monster, she asked a concerned question: Just how many people had her 21-year-old dated? From beginning to end, these sparkling pop tunes capture the assorted stages of a relationship’s delight and dejection—the giddy sensation of a first kiss during the beaming “Overnight,” the heartsick longing of a pending rejection during the yearning “Jordan,” the reluctant call for a requisite breakup during the smoldering “Ana.” Claud, though, replied that these songs detailed the phases of only two or three relationships, simply written during them or at various points after they were over.

The debut release on Phoebe Bridgers’ Saddest Factory Records, Super Monster is a vertiginous but joyous coming-of-age reckoning with such young love. Claud sees relationships as games of endless wonder, intrigue, and second-guesses, a roller-coaster thrilling you even when it’s terrifying. If “Gold” turns the tension and indecision of a bad match into an undeniable bit of lithe disco, “That’s Mr. Bitch To You” uses a spurt of righteous indignation to fuse a little soul and emo into one breathless hook. Super Monster is like a compulsive compilation that Claud culled from a lifetime of musical enthusiasms—the arcing alt-rock of ’90s airwaves, the rapturous pop of ’00s chart-toppers, the diligent genre-hopping of modern online life. Claud emerges as the chameleonic mastermind of this mélange, channeling all of love’s emotions into songs so sharp they make even the hardest times feel fun.

Perhaps you are in the throes of one of these romantic moments yourself right now, resentful of a frustrating paramour like Claud during “Pepsi” or indulging in lust like “In or In Between.” Or maybe these songs recall those wild days and tough situations. Incisive, instant, and addictive Super Monster works on either level—to remind us of love’s wild ups and downs or to help us deal with them in real time. In that way, Mom, these songs are about dating, well, everyone.

STAFF COMMENTS

Barry says: Beautifully melodic bedroom pop, thumping percussion and shimmering hooks bring the stories of Claud to life. It's no surprise that the first signing on Phoebe Bridgers' Saddest Factory is brilliant, but this is a clever and nuanced indie pop LP, brought with the vitality of youth. Top stuff.

TRACK LISTING

Side A
1. Overnight
2. Gold
3. Soft Spot
4. In Or In-Between
5. Cuff Your Jeans
6. Ana (ft. Nick Hakim)

Side B
1. Guard Down
2. This Town
3. Jordan
4. That’s Mr Bitch To You (ft. Melanie Faye)
5. Pepsi
6. Rocks At Your Window
7. Falling With The Rain (ft. Shelly)

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release.

After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time.

That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multiinstrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

TRACK LISTING

SIDE A
1. Activate
2. Reaper
3. Sweet Freak
4. Where's Your Reality?
5. Michaeldose

SIDE B
1. Can You Hear Me Now?
2. Simulator
3. Urge You
4. Cavehead
5. MEPEM...

R.E.M.’s ninth album, Monster, was released at a time when the band were coming off the peak of their mainstream success, following Out of Time (1991) and Automatic For The People (1992). Coming from a long break in touring (the band famously didn’t tour with the two previous records), Monster represented an intentional shift in R.E.M.’s sound, a “return to rock” with guitar laden, simple arrangements.

It was released to strong reviews and significant global success – reaching #1 on Billboard, and least 7 other countries. The album includes the singles; “What’s The Frequency, Kenneth?,” “Crush with Eyeliner,” “Bang and Blame,” and “Strange Currencies.” In 1995 the band promoted that album with their first concert tour since 1989 (although several band members suffered health problems).

TRACK LISTING

EXPANDED 2-CD
MONSTER 25 2CD EDITION INCLUDES A COMPLETE ALBUM REMIX FROM PRODUCER SCOTT LITT AND NEW LINER NOTES. 

Disc 1 – Monster (Remaster)
What’s TheFrequency, Kenneth?
Crush WithEyeliner
King OfComedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies
Tongue
Bang AndBlame
I Took Your Name
Let Me In
Circus Envy
You

Disc 2 – Monster (Remixed)
What’s TheFrequency, Kenneth? (Remix)
Crush WithEyeliner (Remix)
King OfComedy (Remix)
I Don’t Sleep, I Dream (Remix)
Star 69 (Remix)
Strange Currencies (Remix)
Tongue (Remix)
Bang AndBlame (Remix)
I Took Your Name (Remix)
Let Me In (Remix)
Circus Envy (Remix)
You (Remix)

EXPANDED 2-LP
MONSTER 25 2LP EDITION INCLUDES A COMPLETE ALBUM REMIX FROM PRODUCER SCOTT LITT AND NEW LINER NOTES. 

Side A – Monster (Remastered)
What’s TheFrequency, Kenneth?
Crush WithEyeliner
King OfComedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies

Side B – Monster (Remastered)
Tongue
Bang AndBlame
I Took Your Name
Let Me In
Circus Envy
You

Side C – Monster (Remixed)
What’s TheFrequency, Kenneth? (Remix)
Crush WithEyeliner (Remix)
King OfComedy (Remix)
I Don’t Sleep, I Dream (Remix)
Star 69 (Remix)
Strange Currencies (Remix)

Side D – Monster (Remixed)
Tongue (Remix)
Bang AndBlame (Remix)
I Took Your Name (Remix)
Let Me In (Remix)
Circus Envy (Remix)
You (Remix)


STANDARD 1-LP

Side A – Monster (Remastered)
What’s TheFrequency, Kenneth?
Crush WithEyeliner
King OfComedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies

Side B – Monster (Remastered)
Tongue
Bang AndBlame
I Took Your Name
Let Me In
Circus Envy
You

Funny thing about kicking: it’s one of the first and last things we do. In the womb, a fetus kicks to announce an immanent arrival. Meanwhile, laid out on a stretcher, the dying man is “still kicking” up until his final moment, when the last thing he kicks is the bucket. All through life we take our kicks: teenage kicks, modern kicks, kicks in the gut. These days, with the worldwide rise of fascists, demagogues, abusers, and hypocrites, the kick we feel most often comes while we’re down.

From their sudden and deliberate first chord on Love Keeps Kicking, beloved British punk collective Martha announce their intent to kick back. Across 11 tracks, these daughters and sons of Pity Me, England, show that, while our world might be in spiral, there is still plenty worth fighting for. In many ways Love Keeps Kicking is a breakup record, with each song inhabiting different parts of the process. “This year blew my world apart” sings guitarist/vocalist Daniel Ellis on album opener “Heart is Healing.” With lush vocal harmonies (and one of the best riffs in Martha’s discography) “Healing” explores the uncomfortable period between love’s end, and when the heart is ready to move on.

Elsewhere, the opening chords of “Orange Juice” (arguably the best song Martha have written to date) echo the kicking of it’s narrator’s heart, as they suddenly realize with fearful clarity that their longtime relationship is ending. “I didn’t know it then, but you were falling out of love with me / It’s a new development in the plan / a painful change in circumstance,” Nathan Stephens-Griffin sings, wringing out the imminent meaning in each word. Ending just as it begins, “Orange Juice” is Martha at their most heartbreaking, hitting a tender, bittersweet, middle ground between Paul Westerberg and the Pastels as Stephens-Griffin confesses “I don’t know what to do now.”

But while many songs are openly about romantic breakups, most could just as easily about the pain of seeing the world swing dramatically towards the far right. As Pitchfork noted in their glowing review of 2016’s Blisters in the Pit of My Heart, Martha explore the “intersections of reality and emotionality.” For a band whose identities are political whether or not they want them to be, daily life in 2018 is often a kick in the teeth. On Love Keeps Kicking, this vulnerability becomes one of Martha’s greatest strengths. Again and again, the band lovingly gives voice (all four voices) to lives lived on the edge: institutionalized children (“Mini Was a Preteen Arsonist”), outcasts (“Wrestlemania VIII”), lovesick demonologists (“Love Keeps Kicking”), and feminist sci-fi writers (“Lucy Shone a Light On You: The Ballad of Lucy Connor Part II”). These are the people Martha celebrate, reminding them (and us) that love might not be there now, but it’s still kicking.

Maturity in punk is often code for “boring”. Sometimes that’s true, but if Love Keeps Kicking illustrates anything, it’s the importance of growth in a stunted world—of knowing how to love what you have, and how to celebrate the loves you’ve lost. Martha have already made a case for themselves as this generation’s Buzzcocks (if not this generation’s Clash), and with Love Keeps Kicking fans will likely find themselves discovering even more about the band to love. Because even if the world’s going to shit, love keeps kicking.

STAFF COMMENTS

Barry says: Channelling the spirit of late 90's skate/pop-punk Matt and I have been rinsing a bit of late, Martha have a singular talent of bringing the chord sequences and progressions of American frontrunners firmly into British territory with a wry, anglican wit and a warmingly Northeastern accent. Snappy drums and soaring, fuzzy thrashed guitars condensed into three-minute bursts of energy and optimistic glee.

TRACK LISTING

SIDE A
1. Heart Is Healing
2. Sight For Sore Eyes
3. Into This
4. Wrestlemania VIII
5. Mini Was A Preteen Arsonist
6. Love Keeps Kicking

SIDE B
1. Brutalism By The River (Arrhythmia)
2. Orange Juice
3. The Void
4. Lucy Shone A Light On You
5. The Only Letter That You Kept

The National Association of Satanic Advancement and Blackest Rainbow proudly present the new L.P. from Andrew Liles - OTHER WORLDS OTHER MONSTERS.

An oscillating disc of polyvinyl chloride rammed with space age messages and toe tapping tunes for all intergalactic warriors, time travellers, damaged droogs and rusty replicants.

A further instalment in Liles' massive MONSTER series with themes, incidental music, bridging songs, interludes, zaps, zings, shooting stars and fizzing rockets created as imaginary soundtracks for imaginary Sci-Fi films. Musical interpretations on a ‘intergalactic’ theme influenced by a vast array of space-age TV shows and movies from yesteryear, aliens, androids, interplanetary travel and universes yet to be discovered. The tracks cover a vast amount of ground including austere orchestral pieces, vocoders, cheesy 80’s soundtracks, 70’s synths, bleeps and bloops and much, much more.

Narration comes from Alex Jako and Melon Liles.

The amazing front cover comes from Graham Humphreys (the revered British designer and illustrator responsible for some of the best film posters of the 1980’s including Evil Dead, Nightmare on Elm Street and album covers for The Cramps and The Lords of the New Church).

After a barnstorming live reunion which saw them play to ecstatic audiences across Europe throughout 2017, Britain’s giants of electronic music Orbital are back for good - with new music and an upgrade of the legendary live show that transformed festivals across the world.

Throughout 2018 they played a string of high-profile festival dates and headline shows, featuring new material alongside classics like "Chime", "Belfast" and "Impact". This surge of creativity shows how reunited brothers Paul and Phil Hartnoll have rebuilt one of electronic music’s best-loved partnerships after Orbital’s surprisingly bitter break-up in 2012. They’ve been onstage with Stephen Hawking at the Paralympics, in front of the whole world. They’ve remixed Madonna. They’ve played Glastonbury many times and travelled the world - yet were driven apart by music’s strange and infamous brother-vs-brother dynamic (that I'm sure the brothers Gallagher know absolutely nothing about... - ed). But now the brothers have a pact: whatever happens, Orbital does not stop. They’ve learned to talk and accept each other. As Paul says, 'If we were both the same, then it wouldn’t be Orbital.'

Anyway, forget all that, the most important thing to note here is that mother fu**iiiing Brian Cox is all up in the area! Today's spokesperson for all things Science, the ex-D-Ream keyboardist graces "There Will Come A Time" with the kind of gentle, enthusiastic and wonder-struck delivery that only he is really capable of. Ellie Wyatt and Philipa Alexander provide a good chunk of voice on tracks "Monsters Exist", The Raid" and "The End Is Nigh" also.

But will it cut the mustard with old school and cult fans? The simple answer is - yes! More than proficient at writing hits that transcend the dancefloor into general consciousness, the trancelike and sprawling arrangements of the nineties have been tightened up somewhat for current audiences; and with a sharper, more direct sound palette to boot. The kicks in particularly hit hard, and there's a full-frequency aesthetic to most of the tracks - making them as suitable for main stage stadium play as much as they'll be soundtracking midnight drives down motorways, freeways and autobahns across the world. Orbital are back and we love it! 

TRACK LISTING

CD:
Monsters Exist
Hoo Hoo Ha Ha
The Raid
P.H.U.K.
Tiny Foldable Cities
Buried Deep Within
Vision OnE
The End Is Nigh
There Will Come A Time Feat. Prof Brian Cox

CD 2 (Deluxe Version Only):
Kaiju
A Long Way From Home
Analogue Test
Oct 16
Fun With The System
Dressing Up In Other People’s Clothes
To Dream Again
There Will Come A Time (Instrumental)
Tiny Foldable Cities (Kareful Remix)

LP 1:
Monsters Exist
Hoo Hoo Ha Ha
The Raid
P.H.U.K.
Tiny Foldable Cities

LP 2:
Buried Deep Within
Vision OnE
The End Is Nigh
There Will Come A Time Feat. Prof. Brian Cox

Since Beach Slang came into being, bandleader James Alex has taken to performing his group's heartfelt anthems as more intimate solo renditions. Appropriately dubbed "Quiet Slang," these alternate reality versions of Beach Slang's music have now simultaneously been stripped down and fleshed out in the studio to include piano and cello. Following on from the recent We Were Babies & We Were Dirtbags EP, Quiet Slang now bring you a full album of such songs - 'Everything Matters But No One Is Listening' .

TRACK LISTING

1. Bad Art & Weirdo Ideas 
2. Noisy Heaven [
3. Future Mixtape For The Art Kids
4. Filthy Luck 
5. Dirty Cigarettes 
6. Too Late To Die Young 
7. Spin The Dial 
8. Young Hearts
9. Throwaways 
10. Warpaint

The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

"David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s." - Allmusic.

Beach Slang's second full-length is a crash-and-thunder collection of songs about what it takes to keep yourself going, to make it through the rest of the night—hell, through the rest of your youth—and beyond. Frontman James Alex wrote much of A Loud Bash Of Teenage Feelings on their first album’s support tour, during which he spent a lot of time with the kids who’d picked up the record.

“A lot of the songs [on Loud Bash] are the stories of the kids who got turned on to Beach Slang by the first album,” says Alex. “They’re autobiographical, too, but kind of at a remove—I’m not that young kid anymore, but I used to be. You know how it is; rock and roll is a new crop of 15-year-olds picking up guitars every year and having at it. There was something really cool about documenting someone elses life, but seeing myself in it. I suppose that’s why we connect. We’re all kind of one big gang.”

TRACK LISTING

1. Future Mixtape For The Art Kids
2. Atom Bomb
3. Spin The Dial
4. Art Damage
5. Hot Tramps
6. Punks In A Disco Bar
7. Wasted Daze Of Youth
8. Young Hearts
9. The Perfect High
10. Warpaint

Billie Lindahl, the woman behind the name Promise & The Monster, brings a vivid landscape to life on ‘Feed The Fire’, her first album for Bella Union.

‘Feed The Fire’ was recorded in Stockholm, where Lindahl lives, at Labyrint, a small basement studio run by her friend Love Martinsen who produced the ‘Feed The Fire’ album and shares most of the instrumentation with Lindahl. “We aimed at combining the elegance of old Sixties recordings with something darker and more mechanical,” she recalls. “Like you would play a Lee Hazlewood song on top of Nico’s late Eighties records.”

Duality sits at the core of ‘Feed The Fire’, likewise the name Promise & The Monster. “To feed the fire can be seen as both constructive and destructive,” Lindahl concludes. “You keep the fire burning, the spark alive. But fire can kill you. To see, listen and feel is quite a violent and confusing experience, and I think my lyrics often evolve around that, blurring boundaries between dream and reality, and between sanity and insanity.”

TRACK LISTING

Feed The Fire
Hunter
Time Of The Season
Slow And Quiet
Apartments Song
Julingvallen
Hammering The Nails
The Weight Of It All
Machines
Fine Horseman

Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl.

Released in batches, the first albums in the series to be released are Monster Movie, Soundtracks, Tago Mago and Ege Bamyasi.

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore.

Monster Movie is the debut album of Can, recorded and released in 1969. The use of improvisation, experimentation, editing and layering of sounds set a standard for Can's subsequent albums in the early 1970s, which were seminal to the freewheeling avant-garde style dubbed "krautrock" by the British music press.

The album is credited to "The Can", a name suggested by vocalist Malcolm Mooney and adopted by democratic vote. Previously the band had been known as "Inner Space", which later became the name of their purpose-built recording studio. Some copies of the LP bore the subtitle "Made in a castle with better equipment", referring to Schloss Nörvenich, the 14th-century castle in North Rhine-Westphalia where the band recorded from 1968-69.

The 20-minute jam "Yoo Doo Right" was pared down from 6 hours' taping, while the lyrics of "Mary, Mary So Contrary" riff off of Mary, Mary, Quite Contrary, a popular English nursery rhyme.

Monster Movie was the only Can album on which Malcolm Mooney performed all of the vocals until Rite Time, 20 years after.

TRACK LISTING

Father Connot Yell
Mary, Mary, So Contrary
Outside My Door
Yoo Doo Right

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

A super disco project to celebrate RSD 2014 and Far Out Recordings 20th year! Made with love by Far Out's Favourite artists including late legend 'Maestro Jose Roberto Bertrami', along with 'Arthur Verocai', 'Alex Malheiros' & many of Rio's finest musicians including a full orchestra. This has been recorded & mastered to give you the full vinyl experience & is the first album of an ongoing series. The record was produced in the best studio in Rio de Janeiro, with all old equipments including 2" Ampex tape, Neve compressors, SSL desk and needless to say all the best delicate treatments to retain that analogue feel and sound along the way to this release.

TRACK LISTING

LP 1:
Mystery (FOMDO Feat Arthur Verocai) /
Keep Believing (Can You Feel It)
A Disco Supreme (FOMDO Feat Arthur Verocai)
The Last Carnival
LP 2:
Vendetta
Keep Believing (Can You Feel It) (SS Translation By Theo Parrish) Special Radio Edit
Don't Cha Know He's Alright (JR Bertrami / J Davis) /
Freefall (JR Bertrami / JDavis) /
Mystery (Instrumental) (A Verocai / J Davis)

Fusing garage rock, progressive rock, heavy metal, punk and psychedelia – Last Patrol is Monster Magnet’s tenth studio album following 2010's 'Mastermind' and a testament to everything they stand for. In addition to musical influences, the band has always been inspired by comic book, science fiction, horror movies, and B-movies by filmmakers such as Roger Gorman and Russ Myer.

“Last Patrol is a return to our roots in terms of vibe and recording style. It’s full-on psychedelic space-rock with a 60’s garage feel, recorded almost exclusively with vintage guitars, amps and effects in our hometown of Red Bank, NJ. The songs are a kind of Space-Noir, tales of cosmic revenge, peaking libidos, alienation and epic strangeness."

"It’s a weird trip through the back alleys of a dark, retro-future, which not by coincidence very much resembles my own life. (laughs) The lyrics aren’t fantasy really, rather a recounting of my musings on, observations of and general emotional reaction to my life and environment during a 1 week writing period in February of 2013. But I tend to use the vernacular and imagery of science fiction and surrealism to express myself and that’s where these lyrics get trippy. There's also our cover version of Donovan’s “Three Kingfishers” which I thought fit the mood of the album.” - Dave Wyndorf.

FOR FANS OF: Black Sabbath, Kyuss, Led Zeppelin, Queens Of The Stone Age, Alice In Chains

Produced by Monster Magnet themselves, Dave Wyndorf & Phil Caivano, Mixed by Evil Joe Barresi (Kyuss, Tool, Queens Of The Stone Age, Coheed And Cambria) and includes additional production by Matt Hyde (who worked on 'Powertrip')

TRACK LISTING

1. I Live Behind The Clouds
2. Last Patrol
3. Three Kingfishers
4. Paradise
5. Hallelujah
6. Mindless Ones
7. The Duke (Of Supernature)
8. End Of Time
9. Stay Tuned
10. Strobe Light Beatdown (CD Bonus Track)
11. One Dead Moon (CD Bonus Track)

Heroic Dose is the 2nd album from Leeds' These Monsters and the follow up to 2010's Call Me Dragon. Now a three piece following their saxophonist’s move to China their sound has evolved from freaked out riff-driven space prog force to a more grimy aggressive speed fueled punk; the 6 minute, principally instrumental slabs of Sabbathesque riffage replaced with songs barely half that length that have more in common with other bands from the Leeds scene from which they emerged such as Pulled Apart By Horses and Hawk Eyes.

TRACK LISTING

1. Very Strong Very Clever
2. When The Going Gets Weird
3. Harder And Faster
4. Punk Floyd
5. Live Some
6. Same Sex Scene
7. One Of Those Creeps
8. Your Mother’s Lover
9. Survivalists Get All The Girls
10. Heroic Dose

Of Monsters and Men began as the solo project of Nanna Bryndís Hilmarsdóttir however it quickly grew with the additions of friends Ragnar “Raggi” Þórhallsson (co-singer/guitarist), Brynjar Leifsson (guitarist), Arnar Rósenkranz Hilmarsson (drummer), Árni Guðjónsson (piano/accordion player) and Kristján Páll Kristjánsson (bassist)

Crafting epic songs inspired by their amazing homeland, fairy tales and personal history, the band went from battle of the bands winners to the breakthrough act at this year’s Iceland Airwaves and SXSW festival. The bands self-released, first single ‘Little Talks’ to date has sold an impressive 400,000 copies and received 3 million views on YouTube.

Of Monsters and Men continue to make waves among fans and tastemakers alike. ‘My Head is an Animal’ has already enjoyed huge success in Iceland and Europe. Mirroring that feat in America ‘My Head is an Animal’ entered the iTunes alternative chart at #1 and album chart at #2 however went on to top the album charts one week later. And in Germany the album debuted at #4 on their official album chart.

Along with a penchant for crafting rising epic pop numbers ‘My Head is an Animal’ has beautifully delicate moments and signal a fully-fledged band destined to win the hearts of musical lovers worldwide.

STAFF COMMENTS

Ryan says: A stern bit of icelandic pop right here, it's a bit folky but they manage to turn humble folk into a collection of sing-out-loud anthems. It's brilliant!

TRACK LISTING

1. Dirty Paws
2. King And Lionheart
3.Mountain Sound
Slow And Steady
5.From Finner
6. Little Talks
7. Six Weeks
8. Love Love Love
9. Your Bones
10. Sloom
11. Lakehouse
12. Yellow Light

Seemingly out of nowhere comes this 'best of year' challenger from Sacramento's Ganglians. Fusing the unhinged avant-outer-ethereal qualities of Panda Bear with the perfect pop of the Beach Boys and a wide-eyed-dreamy surround-sound hi-gloss, this is an astonishing all encompassing album that's gonna amaze everyone that hears it. It's probably been best described by the band themselves, 'this album is pure naive headphone acid pop to drive to, at least that's what was going through our heads.' - Ganglians. Totally recommended!!!

Tracklisting
1. Something Should Be Said
2. Voodoo
3. Lost Words
4. Candy Girl
5. Valient Brave
6. The Void
7. To June
8. 100 Years
9. Crying Smoke
10. Modern African Queen
11. Try To Understand

The Dudley Corporation, were summed up nicely in the much respected record collector magazine: "The Dudley Corporation purvey toe-tapping melodies, great vocal harmonies and crystal-clear guitar behind a voice so gravelly that it makes Leonard Cohen sound like Julio Iglesias". Querelle have been described as a cross between the Lapse, Blonde Redhead and Unwound, and have picked up a reputation for amazing live performances with words such as "beautiful", "powerful" and "blown away" often being uttered in their direction.

The USA Is A Monster is a brilliantly fried two-piece guitar and drums band of sun spotters hailing from Brooklyn, NY. The band has roved the planet with instruments strapped to their backs playing the tops of mountains, skin-melting deserts, and rusted out America. The band has trekked across Europe, America (too many times to count), and Mexico. The sound of the record is a synapse firing melt of rock and other-wordly whisper. The rock goes from balls out to a gentle, massaging hand reaching into your cortex.

A collaboration between The Melvins, and Mike Patton's Fantomas. Recorded live in San Francisco, December 2000.