Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multitrack reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer's very first studio sessions.

These were the very same recordings that were responsible for earning the band a record contract for their iconic debut 'Blue' album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band's timeless hit songs 'Say It Ain’t So' and 'Undone (The Sweater Song)'. Sharp and legendary music producer Joe Chicarrelli took these recordings to Los Angeles’ famed East/West Studios to take a deeper look into this mythic reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup (with guitarist Jason Cropper) in an infectious, explosively joyful, feral form.

Making the decision to honor the original intention of the music and the traditional technology of the era, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.With Sharp as producer and Chicarrelli on the mix, the result of these sessions makes up the entirety of '1192' (named after the month and year it was originally recorded.) The illuminating spirit of the performances on '1192' are guaranteed to turn the world upside down for blue album fans everywhere.

This album stands on its own as an essential entry into the band’s discography and is crucial to understanding the first chapter in Weezer's storied history.

TRACK LISTING

1. No One Else - Take 1 (1192 Mix)
2. Say It Ain’t So -Take 2 (1192 Mix)
3. Undone – The Sweater Song (1192 Acoustic Mix)
4. The World Has Turned And Left Me Here (1192 Mix)
5. Surf Wax America (1192 Mix)
6. Say It Ain’t So (1192 Vocal and Guitar Mix)
7. The World Has Turned And Left Me Here (1192 Vocal and Guitar Mix)
8. Undone – The Sweater Song (1192 Band Mix)
9. No One Else - Take 2 (1192 Mix)
10. Say It Ain’t So - Take 1 (1192 Mix))

After sharing Blue, Green, Red, White, Teal, and Black albums, Weezer returns with a new colour in their arsenal for Weezer – their 20th album over their monumental, decades-long run

The project’s lead single, 'We Might As Well Be Strangers' ft. Wednesday weaves vocals from Rivers Cuomo and Wednesday’s Karly Hartzman and lays the groundwork for an album that is hands down the band’s most collaborative to date. They all took turns contributing songs; they all took turns writing ON songs together. Produced by Kenneth Blume and Klas Ahlund, 'Weezer' is already shaping up to be another standout in the band’s incredible, timeless catalogue.

TRACK LISTING

1. Say Yes
2. Shine Again
3. Don't Make It Weird
4. We Might As Well Be Strangers ft. Wednesday
5. C.E.O.
6. Hoops
7. Nowhere
8. The Show Must Go On
9. Up In The Clouds
10. The LA Sound

Beloved in equal measure for her deceptively subtle voice and her meticulous, incisive lyrics, Phoebe Bridgers’s solo records Stranger in the Alps (2017) and Punisher (2020) have been accompanied by a number of collaborations, including the supergroup boygenius, with whom Bridgers won three Grammys for 2023’s the record. Her songs are hallmarked by a kind of intimacy that’s hard-found in contemporary music, and scale between the macro and the micro with an ease that’s matched only by her towering, prodigious way with words.

'Weekend at Dave’s, the debut album from Too Many Daves, has been out of print for thirteen years.

Guess what? It’s back in press for a limited run with A.D.D. Records and here in the UK, yours truly Little Rocket records.

This hidden Tamp, Punk Rock gem, was initially released in 2010 to a surprisingly great reception from fans and critics. Prior to 'Weekend...' the band released numerous singles from 2006-2009, and a six song follow up ep, to 'Weekend...', in 2011 titled 'Dawn of The Dave’s'.

That drunken whimsical weekend turned into a fifteen-year vacation for the Dave’s. The world has evolved since then while the Dave’s have been in a holding pattern of arrested development.

Enduring many life tests in the form of felonies, arrests, prison time, flooding, hurricanes, sobriety, health issues, and a revolving turnstile of bass players. The pandemic was seen as a revelation. Sitting around on the couch doing bong loads become passé without being able to turn that stoner logic into anthems for the disenfranchised.

They went back to the lab in 2024, initially tracking new songs for a future release. A process that lasted into spring of 2026. After many delays, distractions, trepidation, and tweaks, the Dave’s will reluctantly return with the follow up to 'Weekend...' titled 'Return of The Living Dave’s' in the fall of 2026. The impending return of the Dave’s to this dystopian landscape is on the way. In order to survive this apocalypse, you will need to break out your Too Many Dave’s handbook and take a refresher course on the classic first full length 'Weekend at Dave’s'. 

TRACK LISTING

1. Dudes Like Us
2. Restraining Order
3. Just Fucking Kill Me
4. Couch Me If You Can
5. Curb Stomp Your Enthusiasm
6. The Ballad of Simple Jack
7. Dudes Room
8. Duderonomy
9. Snortin Smurfs by the Dashboard
10. He Who Dies with the Most Fucking Toys Still Fucking Dies
11. Cop Killer
12. This Shit Sucks
13. Hey, Fuck You Man

Of all the adventurous things the rock band known as Ween has done over their career, recording a straight-up country album with legendary Nashville session musicians was probably the most surprising.

Their fans were already used to albums filled with a variety of eclectic stylistic changes, but staying in one genre for an entire record and abandoning their previous DIY recording methods was a big change even some Ween fans had a little trouble with. However, over time, '12 Golden Country Greats' has become an important and beloved part of the band's history.

There was that great moment in the '60s where everybody went to Nashville to record, whether it was Bob Dylan, or Leonard Cohen, etc. '12 Golden Country Greats' is one of those records. Nobody did that in 1996; an alternative rock act going to Nashville to record an album at the legendary Bradley’s Barn.

Ween did, though…

To celebrate the 30th anniversary of the release of '12 Golden Country Greats', Rhino has remastered the original 1996 album alongside a bonus album collecting previously unreleased demos and rare B-sides and outtakes.

TRACK LISTING

LP/CD1 - 12 Golden Country Greats Remastered:
1. I’m Holding You
2. Japanese Cowboy
3. Piss Up A Rope
4. I Don’t Wanna Leave You On The Farm
5. Pretty Girl
6. Powder Blue
7. Mister Richard Smoker
8. Help Me Scrape The Mucus Off My Brain
9. You Were The Fool
10. Fluffy

LP/CD2 - 12 Golden Demos:
1. I Don’t Wanna Leave You On The Farm – Demo 
2. Piss Up A Rope – Demo 
3. Mister Richard Smoker – Demo 
4. Help Me Scrape The Mucus Off My Brain – Demo 
5. Pretty Girl – Demo 
6. Fluffy – Demo 
7. You Were The Fool – Demo 
8. Powder Blue – Demo 
9. I’ve Got No Darkside – Demo 
10. Maybelle – Demo 
11. I’m Holding You – Demo
12. So Long Jerry – Demo 

LP/CD3 - 14 Golden Outtakes and Demos:
1. I’ve Got No Darkside
2. Boston Chicken
3. Bad Day In Brownsville
4. Good Timing Rhyming Song
5. Sweet Texas Fire
6. Twinkle
7. If You Can’t Look Me In The Eye
8. I’m Gonna Fix Your Ass
9. Fool To Cry
10. Spaghetti
11. I’ll Miss You
12. Maybelle” – Waste Version 
13. Scum Of This Town
14. So Long Jerry

Scoring the lives of small-time players, pimps, junkies, and prostitutes lurking around his simultaneously blessed and cursed existence, Wee mastermind Norman Whiteside lived in an entirely different Columbus than Capsoul's Bill Moss or Prix’s Clem Price. Alternating between Stevie Wonder's dreamy soul and Sly Stone's druggy groove, You Can Fly On My Aeroplane bypasses Whiteside's everyday gritty street life reality, focusing instead on the airy sounds of fantasy and masquerade. Smooth, sexy, and synthy, You Can Fly On My Aeroplane is a peerless and sprawling psychedelic soul concept album and a sure'fire panty soaker to boot.

TRACK LISTING

A1 You Can Fly On My Aeroplane
A2 Leavin' You Alone
A3 Put It In Real Good
A4 Alone (Reprise)
B1 I'm All Changed
B2 Alone
B3 Find Me, Love Me
B4 Try Me
B5 Aeroplane (Reprise)

Katie Crutchfield, under the name Waxahatchee, made her debut album during a snowstorm in the winter of 2012. She dedicated it “to anyone who had woke up and realized their identity is blurry, has had to clumsily get to know themselves, has hit a bottom, has felt self-deprecating and vagrant, and to anyone who has ridden out a shitstorm.” She called it 'American Weekend'. She means 'American Weekend' in the same wide way that Kurt Cobain means 'Teen Spirit', less social construct than natural phenomenon. This is a lo-fi masterpiece in the league of Lou Barlow and the Softies. We should consider it a descendent of Bruce Springsteen’s 'Nebraska', or else temper it no lower than essential listening.

TRACK LISTING

1. Catfish
2. Grass Stain
3. Rose, 1956
4. American Weekend
5. Michel
6. Be Good
7. Luminary Blake
8. Magic City Wholesale
9. Bathtub
10. I Think I Love You
11. Noccalula

Released in 1984, this was the second album released by Polydor and the first and only to be billed to Ian Dury & The Music Students. Songwriting duties were shared between Ian Dury, Russell Hardy, Rod Melvin and a young American songwriter/multi-instrumentalist Michael McEvoy.

Whilst performed by effectively a new line up there were many familiar names who worked on ‘4000 Weeks’ Holiday’. Though Chas Jankel did not write any of the songs, he did play lead guitar as a guest whilst Ed Speight and Geoff Castle, who had played on Dury's seminal New Boots and Panties!! LP in 1977, guested on guitar and Moog synthesizer. The sessions also featured celebrated reggae/ska trombone player Rico Rodriguez MBE, whilst most of the recordings were performed by the 'Music Students', made up of McEvoy, Rhys-Jones, drummer Tag Lamche and saxophonist Jamie Talbot.

The single 'Really Glad You Came' was released and the band performed on National TV inc The Tube. The album also contains 'Peter the Painter' written on request from British Pop artist Peter Blake, Dury’s former teacher at London's Royal College of Art. Blake was having an exhibition at The Tate Gallery, London and asked Dury to compose a theme tune for it. 'Peter the Painter' was that theme tune.

The cover art, one of the last ever designed by Barney Bubbles featured Ian Dury with the Campaign for Nuclear Disarmament (CND) logo (the peace sign) into his hair – in 1984 Ian was an official face for the campaign group in Britain.

TRACK LISTING

1. You're My Inspiration
2. Friends
3. Tell Your Daddy
4. Peter The Painter
5. Ban The Bomb
6. Percy The Poet
7. Very Personal
8. Take Me To The Cleaners
9. The Man With No Face
10. Really Glad You Came

Michael Gray's monumental crossover dance hit, 'The Weekend,' originally released in 2004. Back on a limited edition Red vinyl. This commemorative release also includes previously unreleased 7-inch Version from Michael Gray himself. The 'Sultra 7' mix features live strings and an ambient feel, adding an extra layer of exclusivity for fans and collectors alike.

Radio Support from Lauren Lavern  (BBC 6 Music) & Felix Joy (Rinse FM).

TRACK LISTING

A. Original 7" Mix
B. Michael Gray Sultra Mix

Is 'Quebec' the best album from Ween? Opinions will vary, but it is certainly up there as one of the finest from the brothers Ween. A solemnly psychedelic album full of mournful laments, 'Quebec' is the album that makes the most serious case for Dean and Gene Ween as two of the greatest living American songwriters. Long out of print, this new coloured vinyl reissue of the original album sees it spread across 2LPs and cut at 45rpm for maximum sound quality. Featuring 'Transdermal Celebration', 'Chocolate Town', 'Tried and True' and more.

TRACK LISTING

1. It's Gonna Be A Long Night
2. Zoloft
3. Transdermal Celebration
4. Among His Tribe
5. So Many People In The Neighborhood
6. Tried And True
7. Happy Colored Marbles
8. Hey There Fancypants
9. Captain
10. Chocolate Town
11. I Don't Want It
12. The Fucked Jam
13. Alcan Road
14. The Argus
15. If You Could Save Yourself (You'd Save Us All)

The first career spanning complete studio albums box set from Ween. 10CD set including: 'God Ween Satan: The Oneness', 'The Pod', 'Pure Guava', 'Chocolate and Cheese', '12 Golden Country Greats', 'The Mollusk', 'White Pepper', 'Quebec', 'Shinola, Vol. 1' and 'La Cucaracha'. This collection includes many long out of print titles on CD as well as some of the finest American songwriting from the past 40 years. Punk is dead; long live Ween.

'White Pepper' is hands down Ween at their most accessible. The album's title combines the Beatles 'White Album' and 'Sgt. Pepper's titles, hinting at what lies within. It's a genius only Ween could conjure up across 'White Pepper's twelve tracks. Long out of print, this new coloured vinyl reissue of the original album is on green pepper vinyl. Featuring 'Bananas and Blow', 'Even If You Don't', 'Stay Forever' and more.

TRACK LISTING

1. Exactly Where I'm At
2. Flutes Of Chi
3. Even If You Don't
4. Bananas And Blow
5. Stroker Ace
6. Ice Castles
7. Back To Basom
8. The Grobe
9. Pandy Fackler
10. Stay Forever
11. Falling Out
12. She's Your Baby

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE, LIMITED TO ONE PER PERSON.

This is the reality of Brown. 3LPs of previously unreleased Ween. Includes the long lost studio sessions recorded in Eindhoven on Christmas Day 1990 on LP1 plus the extremely Brown Live in Basel "1990" live show (which may be the best Ween show of all time per Dean Ween) from either December 1990 or January 1991 on LPs 2 and 3. Limited Edition release for Record Store Day 2026.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH 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 8PM (BST) ON MONDAY APRIL 20th).

Weezer’s original bassist and founding member, Matt Sharp, recently stumbled upon a long-lost analog tape reel of the band’s very first studio sessions. These were the recordings that were responsible for earning the band a record contract for their debut “Blue” album and features raw, untamed versions of their timeless hit songs, like Say It Ain’t So and Undone (The Sweater Song), that made the album an instant classic.

Sharp and legendary music producer Joe Chiccarrelli took these recordings to Los Angeles’ famed East/West Studios, where the Beach Boys created Pet Sounds and Sinatra recorded My Way, to take a deeper look into this mysterious reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup of the group in an explosively joyful and feral form. Making the decision to honor the original era and intention of the music, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.

With Sharp as executive producer and Chiccarelli on the mix, the result of these sessions makes up the entirety of the new Weezer album titled “1192” (named after the month and year it was originally recorded.) The illuminating spirit of the performances on 1192 are guaranteed to give fans a whole new perspective on the origins of the blue album and stand on its own right as a significant and crucial entry into the band’s catalog.

Rivers Cuomo: Lead Vocals & Guitar
Matt Sharp: Bass Guitar & Vocals
Jason Cropper: Guitar & Vocals
Pat Wilson: Drums

Hedvig Mollestad Thomassen – guitar. Ståle Storløkken – organ and synth. Ole Mofjell – drums. “Weejuns is all about interplay,” explains Mollestad, a former Young Jazz Talent of the Year and Artist in Residence in her native Norway. “Bitches Blues consists of six instrumental tracks, or stretches of music, with an extreme range of dynamics. Some are based around hefty beats, while other tracks are far more lyrical and rubato. It ranges from riff-based rock-ish stuff, to loud chaos, to melancholy ballads and even totally free improvisations.” Taking a cultured yet refreshingly instinctive approach to intertwining instruments and influences, Bitches Blues (a wry play on Miles Davis album Bitches Brew) veers unpredictably from slow and soft, distinctly sectioned songs with disciplined chord progressions to explosive eruptions of cathartic and complex structures. Weejuns (a slang abbreviation of “Norwegians”) introduced themselves in 2023 with a self-titled double live album. Originally assembled by Mollestad for the Kongsberg Jazz Festival, where she’d been awarded the prestigious Musicians Prize, Weejuns’ collective chemistry has proven enduring and alluring, in part as a foil to the Hedvig Mollestad Trio’s heaviest album to date, 2025’s Bees in the Bonnet. A graduate of the Norwegian Academy of Music, Mollestad has released eight acclaimed albums with her eponymous Trio, toured across Europe and North America, and performed with the likes of Nels Cline, Colin Stetson, Ingrid Laubrock, Trevor Dunn, and Shahzad Ismaily. The signature of her 15-year career has been fusing serious chops with an overt focus on finding fun in sound. For years, Mollestad obsessed over music and little else. The daughter of a jazz musician, she lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass and Jim Hall before discovering riff-raging titans like Led Zeppelin, Black Sabbath and Mahavishnu Orchestra in her 20s. This led to the formation of Hedvig Mollestad Trio, whose relentless recording and touring schedule since the early ’10s have earned the guitarist a stream of accolades, including two Norwegian Grammys (Spellemannprisen) and DownBeat magazine naming her one of the 25 artists who “could shape jazz for decades” in November of 2020. Ståle Storløkken is a founder and long serving member of Supersilent and Elephant9, has served as Terje Rypdal´s “right hand” since the mid 90s, and collaborated with Motorpsycho on record and on stage... as well as countless others. Ole Mofjell is the youngest member, active with Krokofant, Signe Emmeluth’s Amoeba and his own free jazz trio 3 Days Of Maceration.

STAFF COMMENTS

Barry says: It doesn't get much more avant jazz than this, Mollestad is well known in jazz circles for her deep understanding of rhythm and texture, and here leads the Weejuns into an endlessly developing suite of intricate percussion loops and roaring distorted guitar, all as a sort of tribute to one of the most well known avant jazz LP's of all time.

TRACK LISTING

1.Bitches Blues
2.Kompet Blir
3.For A Moment I Thought I Could Hear You
4.Limite
5.Dynamax
6.Recollection Of Sorrow

Two original house cuts. One statement. Soulbound / Abracadabra lands as a double-header single as part of our new XPRESS Singles Series, bridging gritty South London soul with slick Franco-American house energy - a release designed for the salubrious moments on the dance floor.

“Soulbound” sees Bustin’ Loose deliver cutting-edge disco-soul infused house music straight from the concrete textures of South London. Sung and produced by Bustin’ Loose himself, the track rides a pumping, elastic bassline with warm strings and raw vocal emotion - modern house with classic soul DNA. Capturing the energy of London's expansive music culture, Soulbound is both uplifting, euphoric and street-wise. Inspired by the music of Fatboy Slim, rappers like JME and Ghetts and the club culture of London.

On the flip side, “Abracadabra” from Magnolia & Sam Karlson featuring LA wordsmith Relaye drips with French house sensibilities, blending glossy filters, catchy wah guitar and punchy grooves with razor-sharp rap vocals. Imagine Music Sounds Better With You colliding with the cool charisma of Q-Tip - hypnotic, stylish, and irresistibly repeatable.

TRACK LISTING

A1. Bustin’ Loose - Soulbound (Extended Mix)
A2. Bustin’ Loose - Soulbound (Dam Swindle Remix)
B1. Magnolia & Sam Karlson - Abracadabra ft. Relaye (Extended Mix)
B2. Magnolia & Sam Karlson - Abracadabra ft. Relaye (Phil Weeks Ghetto Mix)
B3. Magnolia & Sam Karlson - Abracadabra ft. Relaye (La Felix Remix)

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix.

The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space.

Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

TRACK LISTING

A1 Bim Sherman Ghetto Dub 00:02:55
A2 Bim Sherman Station Dub 00:04:14
A3 Bim Sherman Fire Dub 00:04:26
A4 Bim Sherman Moving Dub 00:03:14
A5 Bim Sherman Magnet Dub 00:03:05
B1 Bim Sherman World Dub 00:03:48
B2 Bim Sherman Danger Dub 00:02:24
B3 Bim Sherman Tribulation Dub 00:03:22
B4 Bim Sherman Blazing Dub 00:03:26
B5 Bim Sherman Untitled Dub 00:04:08

Dormancy comes in many forms. For some it is a break from the world of stress and the constant demands one finds oneself under. For others it is a much needed respite from the grind, a time to disengage from the wheel and collect oneself for the next challenge. 'If The Sun Dies', Greg Weeks’ seventh release, is a signal that his respite is over. Pursuing creativity once again, Weeks finds himself in a period of explosive productivity. He has written an enormous number of songs over the past few years, enough to fuel five separate projects, including 'If The Sun Dies'. In addition, he has rebuilt his Hexham Head Studio (still all analog, still twenty-four tracks) and resuscitated his label Language Of Stone (sans imprint status).

'If The Sun Dies', which takes its title from an Oriana Fallaci novel, is every bit a Weeks album: cryptic-poetic lyrics over melancholic melodies strummed on acoustic guitar and ornamented with the analog instruments he has forever treasured (Hammond Organ, Mellotron, Mini-Moog, and effects-laden guitars). However, the album feels like a departure, a maturation in both content and approach despite its many echoes from the past.

The album’s running thread is melancholia, but lyrically the tunes couldn’t be more disparate. 'If The Sun Dies' is an anthem that posits the end of things being the only means by which two people can find time to truly connect. 'The Heathen Heart' speaks to one’s desire for salvation yet underscores a different, more frightening reality. The more narrative 'A Narrow Star' follows a young woman’s journey into entropy, while 'Tail Lights Burn The Hillside Red' explores the depression that likely drove her there. Shifting gears, 'Dream You Awake' investigates the more archetypal territory of the star-crossed lovers, while 'Driven' attempts, unsuccessfully, to put the genie back into the bottle. 'Ridley Street', a song about a stalker, is juxtaposed to 'Rainless', a song that believes in the transcendent power of love. While 'A Million Ways To Die' and 'Gone Darkside' tread quite literal territory, the album’s closer, 'What It Takes' questions identity in the face of pharmaceuticals. Taken in total, the album amounts to a complete return to form.

TRACK LISTING

1. If The Sun Dies
2. The Heathen Heart
3. A Narrow Star
4. Tail Lights Burn The Hillside Red
5. Dream You Awake
6. Driven
7. Ridley Street
8. Rainless
9. A Million Way To Die
10. Gone Darkside
11. What It Takes

Roast Fish Collie Weed & Corn Bread is a studio album by Jamaican reggae legend Lee “Scratch” Perry, released in 1978. Although Perry had been in the Jamaican music business for a long time by 1978, this album was the first he released to only include songs sung by himself. It was produced at his legendary Black Ark Studio and went on to become a reggae classic.

TRACK LISTING

Side A
1. Soul Fire
2. Throw Some Water In
3. Evil Tongues
4. Curly Locks
5. Ghetto Sidewalk

Side B
1. Favourite Dish
2. Big Neck Police
3. Free Up The Weed
4. Mr. D. J. Man
5. Roast Fish & Corn Bread

THIS IS A BLACK FRIDAY 2025 EXCLUSIVE.

'Shinola' is a compilation album by Ween originally released in 2005. It includes 12 b-side tracks recorded between 1990 and 2003. The album was released on the band’s own label, Chocodog Records, and highlights Ween’s long history of genre-hopping experimentation.

TRACK LISTING

1. Tastes Good On Th' Bun
2. Boys Club
3. I Fell In Love Today
4. Big Fat Fuck
5. Gabrielle
6. Did You See Me?
7. How High Can You Fly
8. Transitions
9. Israel
10. The Rift
11. Monique The Freak
12. Someday"

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?

A Treasure Trove of NYC Post-Disco Gems from 1980–1983

New York City, early 1980s. Post-Disco and Boogie Funk pulse through the streets, clubs, and studios—and Richie Weeks stands at the heart of it all. A true force in the scene, Richie had just dropped the now-classic “Rock Your World” in 1981. Signed to the iconic Salsoul Records, he was riding high: performing at legendary venues like Paradise Garage, Studio 54, Roseland, and Bond International, touring Europe, and recording tirelessly with top-tier vocalists and musicians in studios across the city.

With his projects The Jammers and Weeks & Co. storming the charts both in the U.S. and abroad, Richie was unstoppable. Fueled by a relentless creative drive, he spent countless hours in the studio—writing, arranging, and producing a massive catalog of dancefloor anthems, many of which never saw release. Until now.

Jerome Derradji and Past Due Records are proud to present Richie Weeks – The Love Magician Archives: Boogie & Post Disco. NYC 1980–1983 Vol. 3, the third installment from Richie’s personal archive. Spanning 1980 to 1983, this collection features eight electrifying, previously unreleased tracks from The Jammers and Weeks & Co., as well as the futuristic grooves of Kaviar and Hot Cargo. Richie shines through the entire record—his writing, production, vocals, and arrangements are absolute killers.

Housed in a deluxe double LP package with an insert featuring the second chapter of Richie’s musical journey—penned by Jerome Derradji—this volume is a vital piece of New York’s post-disco history.

TRACK LISTING

A1. Hot Cargo - If You Were Mine (Version 2)
A2. Weeks & Co. - Rockin’ It In The Pocket (Instrumental)
B1. Hot Cargo - What's In It For Me (Short Mix)
B2. The Jammers - Out To Get You (Demo)
C1. Kaviar - Love Robots (Version 2)
C2. Weeks & Co - Knock Knock (Demo)
D1. The Jammers - Flaunt It
D2. The Jammers - Dance 2000

Self-released debut from Manchester's Sad Sells. Rising from Manchester’s vibrant indie music scene, Sad Sells are a six-piece guitar-driven band, blending the melodic sensibilities of R.E.M. with their own atmospheric, heartfelt storytelling.

Sad Sells channels the essence of Northern life through shimmering guitars and poignant lyrics, offering a fresh perspective on modern indie rock.

TRACK LISTING

1. Nothing To Lose
2. Don't Feel Sad
3. Nobody ETC.
4. Fools & Strangers
5. Wedding Dress
6. Thick & Thin
7. Between The Covers
8. 7 Hours & 15 Days
9. Rabbit Hole
10. Counting Bruises

Weezer's beloved 2010 album, 'Hurley', back on vinyl for its 15th year anniversary.

TRACK LISTING

1. Memories
2. Ruling Me
3. Trainwrecks
4. Unspoken
5. Where's My Sex?
6. Run Away
7. Hang On
8. Smart Girls
9. Brave New World
10. Time Flies 

The Weeknd's sophomore studio album 'Beauty Behind The Madness' was released in 2015 and features the #1 hits 'Can't Feel My Face' and 'The Hills'. 10th Anniversary Edition 2 LP set is pressed on standard weight transparent vinyl.

TRACK LISTING

1. Real Life
2. Losers Ft. Labrinth
3. Tell Your Friends
4. Often
5. The Hills
6. Acquainted
7. Can’t Feel My Face
8. Shameless
9. Earned It (Fifty Shades Of Grey)
10. In The Night
11. As You Are
12. Dark Times Ft. Ed Sheeran
13. Prisoner Ft. Lana Del Rey
14. Angel

'The Wee Small Hours: B-Sides and Other Detritus 2011-2025' consists of rarities spanning Real Estate's last decade plus with Domino.

“This is something we’ve talked about doing for a while now: a compilation of non-album tracks with a title, subtitle, and maybe throw a span of years in there to make it official-sounding,” Martin Courtney said of the compilation. “The title comes from the lyrics to an unreleased song we recorded during the Atlas sessions at Wilco’s loft in Chicago back in 2013, which in turn references a great Frank Sinatra record. This feels to us like a worthy addition to the catalog and we hope you all love it.”

The compilation’s earliest track dates back to 2011, with a cover of The Strokes’ 'Barely Legal' for a Stereogum Tribute album, and the b-side of the 'It’s Real' / 'Blue Lebaron' 7”. Other covers include 'Paper Dolls' (The Nerves) from 2014, 'Days' (Television) from 2021, and of course 'Daniel' (Elton John) from 2024. It also includes 'In My Car', dating back to a Record Store Day fanzine flexi-disc from 2012, more b-sides including the tracks from the 'Atlas' bonus 7” from 2013, and an unreleased track entitled 'Two Part' from the 'Atlas' sessions.

TRACK LISTING

1. Pink Sky
2. Exactly Nothing
3. Barely Legal
4. In My Car
5. Two Part, Part Two
6. Paper Dolls
7. Blue Lebaron
8. Days
9. The Chancellor
10. Recreation
11. Daniel
12. Two Part

'Hurry Up Tomorrow' is the sixth studio album by the Canadian singer-songwriter the Weeknd. The album contains guest appearances from Playboi Carti and Anitta. Production was handled by the Weeknd himself, Max Martin, Oscar Holter, Pharrell Williams, Mike Dean, Ojivolta, Twisco, and Sean Solymar, among others. The album was supported by three singles: 'Dancing in the Flames', 'Timeless' (with Playboi Carti) and 'Sao Paulo' (featuring Anitta).

TRACK LISTING

1. Wake Me Up
2. Cry For Me
3. I Can't Fucking Sing
4. São Paulo
5. Until We're Skin & Bones
6. Baptized In Fear
7. Open Hearts
8. Opening Night
9. Reflections Laughing
10. Enjoy The Show
11. Given Up On Me
12. I Can't Wait To Get There
13. Timeless
14. Niagara Falls
15. Take Me Back To LA
16. Big Sleep
17. Give Me Mercy
18. Drive
19. The Abyss
20. Red Terror
21. Without A Warning
22. Hurry Up Tomorrow

ULLAPOOL, Scotland – RuMac (Ruairidh Maclean), the “weird guy” making “weird music” who insists his fans “have fun or feck off”, is proud to announce the release of his debut album 'The Bloody Box'. This uproarious new record showcases RuMac’s one-of-a-kind comedy persona and high-octane folk-punk sound, blending music and humor in a way that has already made his live shows legendary. Fresh off a viral TV performance that even left Simon Cowell declaring “I’ve never heard anything like this… it was fantastically mad”, RuMac is unleashing that same anarchic energy on 'The Bloody Box' for listeners everywhere.

On 'The Bloody Box', RuMac’s comedy and musical mayhem go hand-in-hand. Fans can expect “twisted folk-punk versions of classic hits” delivered with tongue-in-cheek flair. RuMac turns well-known anthems upside-down – from an accordion-driven take on AC/DC’s 'Thunderstruck' to a raucous cover of Dr. Hook’s satirical gem 'Everybody’s Makin’ It Big But Me' – each track packed with sonic surprises and punchlines. Known for his “off-kilter, abrasive and energetic” performances, RuMac brings that same wild stage spirit into the studio. He wields his accordion as both instrument and comedic prop, “armed only with his accordion and ancient Highland fury” as he mashes up bagpipe sounds, punk rock attitude, and cheeky theatrics. The result is a listening experience that’s equal parts concert, comedy show, and ceilidh gone awry.

Even the album’s title reflects RuMac’s devilishly witty style. 'The Bloody Box' is a nod to RuMac’s own tongue-in-cheek mythology: “The devil doesn’t play the fiddle… the devil plays the bloody box,” he likes to joke. It’s a playful twist on an old saying, asserting that the accordion – affectionately known as “the box” – is the true instrument of chaos. That mischievous theme runs throughout the album. From start to finish, 'The Bloody Box' embraces RuMac’s love of the absurd. Thunderous drum beats and even banjo riffs burst forth from his electrified accordion (according to RuMac’s infamous “origin story,” he once rigged his accordion with a mysterious device to unleash “sounds from hell” in a conservative music academy). The album captures that fictional mayhem in musical form, inviting listeners to laugh, mosh, and maybe raise a glass to the devil’s own jester of the Highlands.

TRACK LISTING

1. Kirk & Josh Of Corrie Farm
2. Everybody’s Makin’ It Big But Me
3. Thunderstruck
4. Jean’s Reel
5. Port Of Amsterdam
6. The Gaelic Choir
7. The Chain
8. The Sick Bed Of Cuchulainn
9. Mason’s Apron
10. Seagull Eagle
11. Poaching Days

In his label debut on Ghostly International, Brooklyn-born, South London-based artist Goya Gumbani redefines his recording project with rich, full-band arrangements, crossing London's new jazz generation with New York City's hip-hop storytelling legacy. Warlord of the Weejuns is a triumph of taste, heritage, and pride from one of rap music's most dexterous talents. Guests include Fatima, lojii, Seafood Sam, and Yaya Bey. London-based Swedish soul singer Fatima appears in two singles; first, there's "Firefly," a cosmic R&B groove that captures the rawness of a recent breakup. "Fatima came and just laid the hook, and I was like, damn, you're embodying how I'm feeling," says Goya, who built it out with contributions from Swarvy, Omari Jazz, Les Lockheart, and his Ghostly labelmate quickly, quickly.

TRACK LISTING

1. Weejuns (intro) Ft. Will Stowe
2. Beautiful BLACK
3. One Hand Washes The Other Ft. Lojii
4. Crossroad(s)
5. Negroni (Skit)
6. FireFly Ft. Fatima
7. Nothin’ To Say
8. UPtown Mami (Skit)
9. Manuva(s) Ft. Joe Armon-Jones
10. Driftin’ Interlude Ft. Pearl De Luna
11. Chase The Sunrise Ft. Yaya Bey, Lojii, Fatima
12. First Dates
13. Quiz Interlude Ft. Salimata
14. Lizards / Dancin' With The Devil Ft. Jaydon Clover & The Hotel
15. Mind, Body, Spirit Ft. Seafood Sam
16. FOREVER POOH

The Weeks Island project began in 2018 when, itching for something during a break from his gig playing guitar for the Grammy-winning Cajun group Lost Bayou Ramblers, Jonny Campos ventured to his bandmate’s house and recorded a series of deep, amoebic, ambient pedal steel passages across two afternoons. It wasn’t all heavy, though: he paid that bandmate, Kirkland Middleton, in Cane’s chicken strips.

The tracks on Droste are named for bodies of water that no longer exist, their names wiped from maps thanks to the disintegrating shorelines of Southern Louisiana. That feeling of impermanence hangs over this record - the tracks don’t so much begin and end as slip in and out of your consciousness. It can be a serene passive listen or a deep one that marinates long after the runout.

Droste originally appeared on Nouveau Electric Records, run by another Rambler, Louis Michot, in 2020, digitally and on cassette. DFA picked it up via an connection from LCD Soundsystem’s Korey Richey, and began a years-long process to cut the record to vinyl, a task made difficult by the sharp pedal steel and waves of harmonic distortion that color the music. After more than a few tries and the addition of three brand new tracks, Bob Weston at Chicago Mastering Service nailed it, and it was pressed beautifully at Furnace Record Pressing in Alexandria, VA.

STAFF COMMENTS

Barry says: Gorgeous plaintive lap steel, shimmering reverb and drifting, lysergic ambience. A true triumph and yet another amazing entry into the lexicon of modern American Primitivism.

TRACK LISTING

1. Point Fortuna
2. Racoon Island
3. Fleur Pond
4. Bayou La Chute
5. Cyprien Bay
6. Yellow Cotton Bay
7. Locust Pond
8. Grace Pond

Celebrating the 30th anniversary of Weezer’s career-defining, self-titled debut album, also known as the “Blue Album.”

An instantly recognizable cultural touchstone of the 1990s, Weezer (the Blue Album) has garnered such a firm place in the musical pantheon of the last three decades that it serves as an entry point into music for nascent listeners. A testament to the band’s staying power, tracks like “Buddy Holly” and “Say It Ain’t So” have earned hundreds of millions of streams and endless placements in TV shows and movies.

Super Deluxe 4LP + 10" + 7" // Product Description
Often revered as one of the most important debut albums of all-time, Weezer’s “blue” album celebrates 30 years with an extensive Super Deluxe boxset featuring four 12-inch 180-gram LPs, a 10-inch EP and 7-inch. The album has been newly remastered from the original analog tapes and the set includes 50 total tracks with 36 previously unreleased, including 8 Kitchen Tape Demos, 22 early practices & live recordings, 6 BBC radio recordings (2 never broadcasted) and 4 tracks from their LMU sessions. Karl Koch updates the history on the album with new liner notes in issue #18 of the weezine, along with laying out all of the artwork throughout the boxset filled with unreleased photos. The boxset showcases sweater embossed graphics along with a blue thread that’s pullable (& retractable), 4 lithographs, a poster for the garage, song-themed sticker sheet, 12-sided dice and an enamel Bokkus pin.

Deluxe 3CD // Product Description
Often revered as one of the most important debut albums of all-time, Weezer’s “blue” album celebrates 30 years with an extensive Deluxe 3CD boxset. The album has been newly remastered from the original analog tapes and the set includes 50 total tracks with 36 previously unreleased, including 8 Kitchen Tape Demos, 22 early practices & live recordings, 6 BBC radio recordings (2 never broadcasted) and 4 tracks from their LMU sessions. Karl Koch updates the history on the album with new liner notes in issue #18 of the weezine, along with laying out all of the artwork throughout the boxset filled with unreleased photos. The boxset comes with 4 lithographs, a poster for the garage, song-themed sticker sheet, 12-sided dice and an enamel Bokkus pin.

TRACK LISTING

SUPER DELUXE 4-LP + 10-INCH + 7-INCH
LP ONE SIDE A – ALBUM REMASTERED
My Name Is Jonas
No One Else
The World Has Turned And Left Me Here
Buddy Holly
Undone – The Sweater Song
Surf Wax America
LP ONE SIDE B – ALBUM REMASTERED
Say It Ain’t So
In The Garage
Holiday
Only In Dreams

LP TWO SIDE A – THE KITCHEN TAPE DEMOS
Say It Ain’t So - Previously Unreleased
The World Has Turned And Left Me Here - Previously Unreleased
Paperface
Undone – The Sweater Song
LP TWO SIDE B – THE KITCHEN TAPE DEMOS
Thief, You’ve Taken All That Was Me - Previously Unreleased
My Name Is Jonas - Previously Unreleased
Let’s Sew Our Pants Together - Previously Unreleased
Only In Dreams

LP THREE SIDE A – THE EARLY RECORDINGS
I Can’t Forget This Way (Third Practice) - Previously Unreleased
Undone – The Sweater Song (Third Practice) - Previously Unreleased
The World Has Turned And Left Me Here (Third Practice) - Previously Unreleased
Windows Down (Garage Practice) - Previously Unreleased
My Name Is Jonas (Garage Practice)- Previously Unreleased
LP THREE SIDE B – THE EARLY RECORDINGS
Only In Dreams (Garage Practice) - Previously Unreleased
Superman (Garage Practice) - Previously Unreleased
Dawn Sets Upon Us (Garage Practice) - Previously Unreleased
Just What I Needed (Rehearsal Demo) - Previously Unreleased
Buddy Holly (Rehearsal Demo) - Previously Unreleased

LP FOUR SIDE A – THE EARLY LIVE RECORDINGS
Let’s Sew Our Pants Together (Live At 8121 Club) - Previously Unreleased
Paperface (Live At 8121 Club) - Previously Unreleased
Only In Dreams (Live At 8121 Club) - Previously Unreleased
Conversationalist (Wax Cover/Adaptation) (Live At Coconut Teaszer) - Previously Unreleased
Undone – The Sweater Song (Live At English Acid) - Previously Unreleased
My Name Is Jonas (Live At English Acid) - Previously Unreleased
LP FOUR SIDE B – THE EARLY LIVE RECORDINGS
No One Else (Live At Club Lingerie) - Previously Unreleased
The World Has Turned And Left Me Here (Live At Club Lingerie) - Previously Unreleased
Jamie (Live At Club Lingerie) - Previously Unreleased
Lullabye For Wayne (Live At Club Lingerie) - Previously Unreleased
Say It Ain’t So (Live At Club Lingerie) - Previously Unreleased
China Grove (Live At Club Lingerie) - Previously Unreleased

10-INCH – BBC RECORDINGS - Side A: 45RPM
My Name Is Jonas (Live On BBC Evening Sessions) - Previously Unreleased
In The Garage (Live On BBC Evening Sessions) - Previously Unreleased
No One Else (Live On BBC Evening Sessions) - Previously Unreleased
10-INCH – BBC RECORDINGS - Side B: 45RPM
Surf Wax America (Live On BBC Evening Sessions)- Previously Unreleased
Buddy Holly (Acoustic – Live On Greater London Radio)- Previously Unreleased
Undone – The Sweater Song (Acoustic – Live On Greater London Radio) - Previously Unreleased

7-INCH – LMU SESSIONS - Side A: 33-1/3RPM
Jamie (Take 6)
My Name Is Jonas - Previously Unreleased
7-INCH – LMU SESSIONS - Side B: 33-1/3RPM
Jamie (Take 5) - Previously Unreleased
Lullabye For Wayne - Previously Unreleased

DELUXE 3CD
CD ONE
My Name Is Jonas
No One Else
The World Has Turned And Left Me Here
Buddy Holly
Undone – The Sweater Song
Surf Wax America
Say It Ain’t So
In The Garage
Holiday
Only In Dreams
My Name Is Jonas (Live On BBC Evening Sessions) - Previously Unreleased
In The Garage (Live On BBC Evening Sessions) - Previously Unreleased
No One Else (Live On BBC Evening Sessions) - Previously Unreleased
Surf Wax America (Live On BBC Evening Sessions) - Previously Unreleased
Buddy Holly (Acoustic – Live On Greater London Radio) - Previously Unreleased
Undone – The Sweater Song (Acoustic – Live On Greater London Radio) - Previously Unreleased

CD TWO
Say It Ain’t So (The Kitchen Tape Demos)- Previously Unreleased
The World Has Turned And Left Me Here (The Kitchen Tape Demos)- Previously Unreleased
Paperface (The Kitchen Tape Demos)
Undone – The Sweater Song (The Kitchen Tape Demos)
Thief, You’ve Taken All That Was Me (The Kitchen Tape Demos)- Previously Unreleased
My Name Is Jonas (The Kitchen Tape Demos)- Previously Unreleased
Let’s Sew Our Pants Together (The Kitchen Tape Demos)- Previously Unreleased
Only In Dreams (The Kitchen Tape Demos)
I Can’t Forget This Way (Third Practice) - Previously Unreleased
Undone – The Sweater Song (Third Practice) - Previously Unreleased
The World Has Turned And Left Me Here (Third Practice) - Previously Unreleased
Windows Down (Garage Practice) - Previously Unreleased
My Name Is Jonas (Garage Practice) - Previously Unreleased
Only In Dreams (Garage Practice) - Previously Unreleased
Superman (Garage Practice) - Previously Unreleased
Dawn Sets Upon Us (Garage Practice) - Previously Unreleased
Just What I Needed (Rehearsal Demo) - Previously Unreleased
Buddy Holly (Rehearsal Demo) - Previously Unreleased

Orlando Weeks’  new album ‘LOJA’ (Portuguese for ‘store’) was written in both London and Lisbon. Recording began in earnest in January 2023 at the beautiful Chale Abbey Studios with longtime live collaborator Sergio Maschetzko as producer, supported by co-producer and engineer David Granshaw. In its latter stages, Nathan Jerkins (BULLION) contributed additional production and mixing.

Lead single ‘Dig’, featuring Rhian Teasdale (Wet Leg), is 3 minutes of half argument, long worn-out promises being remade and road weary offences being retaken.

The record features a number of other key collaborators including Katy J Pearson, Tony Njoku, Oliver Hamilton (Caroline) and Alejandro Aranda (Scary Pool Party).

The core musical contributions come from long standing live collaborators Sami El-Enany, Luca Caruso, William Doyle and Alexander Painter.
A love letter to his new home, lyrically ‘Loja’ toys with both the fantastical and stark realism. There are sleeping giants in Track 2's 'Best Night' and the final song on the album, ‘Beautiful Place’, tells the story of a beach death.

The novelty of a new city afforded Weeks the opportunity to romanticise his present and reevaluate his past.

The first live performances in over a year will be at Copeland Gallery this June. During a 4 day/night residency, Weeks will preview music from 'Loja' alongside an exhibition of the prints and drawings that are the accompanying visual aspect of the album.

STAFF COMMENTS

Barry says: Insistent Kosmische percussion, whimsical fantastical imagery and beautifully constructed vocal harmonies, including a host of guest musicians to boot. Orlando Weeks' newest builds beautifully on 2022's brilliant 'Hop Up'. Particular mention to the brilliant single 'Dig' featuring Rhian Teasdale of Wet Leg.

TRACK LISTING

Side A
1. Longing
2. Best Night
3. Wake Up
4. Dig Feat. Rhian Teasdale
5. You & The Packhorse Blues
6. Good To See You

Side B
1. My Love Is (Daylight Saving)
2. Please Hold
3. Sorry
4. Tomorrow
5. Beautiful Place

Only God Was Above Us is the fifth studio album from Vampire Weekend. The album is inspired by and infused with the essence of the band’s birthplace of New York City, though recorded all over the world, from New York to Los Angeles to London and Tokyo. The album was produced by Ezra Koenig, and longtime collaborator Ariel Rechtshaid. The album title is lifted directly from the album artwork, which is a photo taken from a Subway graveyard in New Jersey in 1988 by photographer Steven Siegel.

Only God Was Above Us includes universal themes ranging from the urge to question the world in which we live, and the quest for peace that can only be found through acceptance. The album is equal parts as direct yet complex as anything the band has ever released, as beautiful and melodic as they’ve ever sounded but also at their grittiest.

STAFF COMMENTS

Barry says: There's something unmistakeable about the way Vampire Weekend form their songs, and it's been the case since they first burst onto the scene with their debut LP in 2008. 'Only God...' has all of the pitch-shifted guitar lines and rolling basslines of their early work with Koenig's vocals working away beautifully over the top, but there's a sense of a more mature songwriting drive, and results in possibly their greatest work yet.

TRACK LISTING

1. Ice Cream Piano
2. Classical
3. Capricorn
4. Connect
5. Prep-School Gangsters
6. The Surfer
7. Gen-X Cops
8. Mary Boone
9. Pravda
10. Hope

In celebration of Weezer’s innovative SZNZ project - a collection of four EPs matching each season that have been made and released in real time throughout 2022 - the band is thrilled to share the final instalment, ‘SZNZ: Winter’.

Like SZNZ: Spring, SZNZ: Summer and SZNZ: Autumn before, the seasonal equinox on December 21 will arrive alongside a new Weezer EP. A stripped back, acoustic-leaning body of work, SZNZ: Winter encompasses the harrowing sadness that can so easily pair with the winter months.

SZNZ: Winter, the final part in Weezer’s four-EP song cycle, continues the narrative started on SZNZ: Autumn, SZNZ: Spring and SZNZ: Summer bringing Pagan myths, Shakespeare, Catholic rituals, Vivaldi’s Four Seasons, and more to life. Each SZNZ EP offers its own palette of colors, creatures, and emotions to explore. They were all created in real time, made in tandem with the season themselves. Once they’ve all been released on December 21, the EPs will create an incredible collection of some of Weezer’s best songs yet, no small feat for a band that never leaves the Zeitgeist.

TRACK LISTING

I Want A Dog
Iambic Pentameter
Basketball
Sheraton Commander
Dark Enough To See The Stars
The One That Got Away
The Deep And Dreamless Sleep

The record was written and produced by Jim Duncombe and Chris Palmer - owner of London's legendary Groove Records and also the man behind UK funk/disco label Groove Production (Surface Noise, Linda Taylor, Caché etc). Chris & Jim had met earlier in the year at the Midem music conference in Cannes, and started writing together shortly after. The initial recording sessions were completed at Duncombe's Powerplay Recording Studios in Switzerland, with American vocalist Gloria Weems (then on a club tour of Switzerland) brought in on vocal duties. Palmer then added additional recordings and mixed the record down at Groove Production's London base. Criminally it was only ever picked up for release in super limited numbers through the South African label CCP Records - though Chris, through an ongoing licensing relationship via his Groove Production label, managed to license "Wanna Dance With You" and it's dubbed-out b-side "Wanna Version" to the legendary NYC label Prelude. Nevertheless the Lovelight LP represents a lost classic and a rare example of a transatlantic disco-boogie project in the era's golden period, in it's linking up of UK, European and American elements.

TRACK LISTING

1. Wanna Dance With You
2. Never Give It Up
3. Push It Up
4. Wanna Version
5. Don't Let Me Drop
6. Lovelight

Never one to rest on her laurels and always eager to break new ground, it’s full steam ahead for guitarist Hedvig Mollestad when teaming up with sublime keyboard player Ståle Storløkken (Elephant9, Supersilent) and young drummer ace Ole Mofjell in a new trio bearing her name. Beautifully subtle and fiercely burning, Weejuns is a solid step into shimmering, hardcore improvisation and breathtaking instrumental interplay, a temporary move away from the composed music of her regular trio and the ensemble projects. It was not the intention, but with this in mind and great recordings of a handful of concerts, it made perfect sense to make the trio’s debut a double live album. We don’t like to put tags on music, but it’s possible to place the trio in the same musical landscape as Bitches Brew-era Miles, Supersilent, Henry Cow and King Crimson 73-74.

The music was recorded live in concert during 2022 at venues in Oslo and Stavanger. Four of the six tracks are from their very first concert – at the new Munch Museum – a fact that says it all about the telepathic communication at play in this trio.

Hedvig received Molde International Jazz Festival’s “Young Jazz Talent of The Year” award back in 2009 and now the circle is closed with her being appointed Artist in Residence, following in the steps of Chick Corea, Pat Metheny, Terje Rypdal, Mats Gustafsson, Maria Schneider, John Zorn and many other greats since it was introduced 23 years ago. At this year’s festival she is performing in various constellations with eight concerts in six days and guests including Colin Stetson, Nels Cline, Cortex, Gard Nilssen, Jon Balke as well as Trevor Dunn sitting in with the Weejuns trio.

For years, Mollestad obsessed over music and little else. The daughter of a jazz musician, she lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass and Jim Hall before discovering riff-raging titans like Led Zeppelin, Black Sabbath and Mahavishnu Orchestra in her 20s. This led to the formation of Hedvig Mollestad Trio, whose relentless recording and touring schedule since the early ’10s have earned the guitarist a stream of accolades, including DownBeat magazine naming her one of the 25 artists who “could shape jazz for decades” in November of 2020.

TRACK LISTING

1. Go At Your Peril
2. Come Monday
3. Hug That Tree!
4. I'll Give You Twentyone
5. Stay At Your Peril
6. Pity The City

THE SUNDAY TIMES BESTSELLER"Mark Lanegan-primitive, brutal, and apocalyptic. What's not to love?" NICK CAVE"A stoned cold classic" IAN RANKIN'Mark Lanegan writes like he sings, from the pained heart of a damaged soul with brutal honesty' BOBBY GILLESPIE"Powerfully written and brutally, frighteningly honest" LUCINDA WILLIAMSA ROUGH TRADE AND MOJO BOOK OF THE YEARFrom the back of the van to the front of the bar, from the hotel room to the emergency room, Mark Lanegan takes us back to the sinister, needle-ridden streets of Seattle, to an alternative music scene that was simultaneously bursting with creativity and saturated with drugs. He tracks the tumultuous rise and fall of Screaming Trees, from a brawling, acid-rock bar band to world-famous festival favourites with an enduring legacy, and tells of his own personal struggles with addiction, culminating in homelessness, petty crime, and the tragic deaths of his closest friends.

Gritty, gripping and unflinchingly raw, SING BACKWARDS AND WEEP is about a man who learned how to drag himself from the wreckage, dust off the ashes, and keep living and creating. 'The most brutally honest rock memoir imaginable' DAILY TELEGRAPH

SZNZ: Summer is the second instalment in one of the bands most exciting projects to date: SZNZ, a four EP song cycle of sorts and is being released as a CD on July 15th. Already mythical across the internet, SZNZ will, fittingly, be released at the start of every season. Each EP will offer its own palette of colours, creatures, and emotions to explore. They’re also being created in real time, made in tandem with the season themselves. The projects lead single “Records” is a big classic Weezer rock song, with a chorus built around thunderous drums, chunky power chords and a memorable melody about songs that get stuck in your head, which is exactly what this one is sure to do

TRACK LISTING

1. Lawn Chair
2. Records
3. Blue Like Jazz
4. The Opposite Of Me
5. What’s The Good Of Being Good
6. Cuomoville
7. Thank You And Good Night

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Reissued for the first time since 2008 this first ever repress of the much sought after Field Music offshoot The Week That Was celebrates 15 years since its release. Reissued on an exclusive clear vinyl the album has also been remastered by David Brewis of Field Music.

TRACK LISTING

Learn To Learn
The Good Life
The Story Waits For No
One
It's All Gone Quiet
The Airport Line
Yesterday's Paper
Come Home
Scratch The Surface

SZNZ: Spring is the first of four in the SZNZ series of EPs by Weezer and is now available on Black and Glow In The Dark Vinyl. The EP was produced by Weezer’s frequent collaborators Jake Sinclair and Suzy Shinn, as well as new collaborator Ethan Gruska.

Each EP offers its own palette of colors, creatures, and emotions to explore. Created in real time, made in tandem with the season themselves, the EPs form an incredible collection of some of Weezer's best songs yet, which is no small feat for a band that never leaves the Zeitgeist.

Weezer is Brian Bell (backing vocals, guitar), Rivers Cuomo (vocals, guitar, piano), Scott Shriner (backing vocals, bass), and Pat Wilson (drums).

TRACK LISTING

1. Opening Night
2. Angels On Vacation
3. A Little Bit Of Love
4. The Garden Of Eden
5. The Sound Of Drums
6. All This Love
7. Wild At Heart
8. Across The Meadow**

**only Available On The Vinyl Release.

SZNZ: Autumn, the third part in Weezer’s four-EP song cycle, continues the narrative started on SZNZ: Spring and SZNZ: Summer bringing Pagan myths, Shakespeare, Catholic rituals, Vivaldi’s Four Seasons, and more to life. Each SZNZ EP offers its own palette of colors, creatures, and emotions to explore. They’re also being created in real time, made in tandem with the season themselves. Once they’ve all been released, however, the EPs will create an incredible collection of some of Weezer’s best songs yet, which is no small feat for a band that never leaves the Zeitgeist.

The band is fresh off a banner year in 2021. First up was the critically acclaimed Ok Human featuring the hit song ‘All My Favorite Songs’ which was nominated for Best Rock Song at the Grammys, reached Top 20 at Hot AC radio, and #1 at Alternative & Triple A radio, the latter of which is a first for the band! The band also released the long-awaited Van Weezer, which debuted at #1 on the Billboard Rock and Alternative charts. The album featured hit single “Hero”, which reached #1 on the alternative radio charts, and “The End of the Game” which reached Top 5. The band also rocked stadiums across America last summer on the Hella Mega Tour alongside Green Day & Fall Out Boy. The tour will continue this Summer in Europe. The Grammy-nominated band have amassed a social reach of over 8M followers, earned FOUR RIAA-certified platinum albums, and have over 2 BILLION streams in the US alone!

Weezer is Brian Bell (backing vocals, guitar), Rivers Cuomo (vocals, guitar, piano), Scott Shriner (backing vocals, bass), and Pat Wilson (drums).

Arriving in the wake of his critically acclaimed debut solo album ‘A Quickening’, Week’s forthcoming record once again leans into themes of new life & parenthood, but whereas his previous work catalogued the emotions, expectations and anxieties that accompany imminent parenthood, Hop Up is an altogether more joyous and life affirming statement.

Featuring inspiring contributions from Katy J Pearson, Willie J Healey and Ben Reed (best known as part of Frank Ocean’s live band, he also played bass on the seminal ‘Blonde’ album ).

Weeks notes “It started with the idea of wanting to fill in some of the blanks that I felt I had left with ‘A Quickening’, but quite quickly it turned into something broader. The choice was always to take the more positive and uplifting sounding step. Perhaps it shouldn’t have, but as an approach it felt surprisingly novel to me.”

STAFF COMMENTS

Barry says: Hop Up is an unashamedly upbeat and undeniably lovely collection of synth-pop abstractions and a wonderful testament to Weeks' abilities as a songwriter. 'Look who's Talking Now' mixes 80's pop groove with crisp production and swimming, echoic bliss.

TRACK LISTING

1. Deep Down Way Out
2. Look Who’s Talking Now
3. Bigger
4. Yup Yup Yup Yup
5. High Kicking (featuring Willie J Healey)
6. No End To Love
7. Hey You Hop Up
8. Make You Happy
9. Big Skies Silly Faces (featuring Katy J Pearson)
10. Silver
11. Way To Go

Four years on from their Mercury Prize winning "Visions Of A Life" LP, Wolf Alice return with their most expansive, ambitious release to date.

STAFF COMMENTS

Barry says: It's wonderful to have a new album from Wolf Alice, and 'Blue Weekend' is indeed a stormer. Brilliantly inventive and full of the sort of rhythmic twists and turns we've come to expect from 2017's standout epic, 'Visions Of A Life'. This one sees a band full of energy and vigour, and should prove to be just as impactful as their previous work. A bold and wonderful beast.

TRACK LISTING

1. The Beach
2. Delicious Things
3. Lipstick On The Glass
4. Smile
5. Safe From Heartbreak (if You Never Fall In Love)
6. How Can Make It OK?
7. Play The Greatest Hits
8. Feeling Myself
9. The Last Man On Earth
10. No Hard Feelings
11. The Beach II

Van Weezer is the 14th studio album from American Rock Band Weezer. The inspiration for this album derives from the deepest roots of Weezer - metal! What has metal got to do with Weezer, you ask? In his earliest years, Rivers was a huge KISS fan; Brian was a big Black Sabbath fan; Pat worshipped at the altar of Van Halen and Rush; Scott loved Slayer and Metallica.

The last time this vein of harder rock was mined by Weezer was on their much-loved 2002 album Maladroit; Van Weezer is primed to take that album's sonics many steps further courtesy of producer Suzy Shinn. "The End of the Game" was Weezer's first new song since the release of Weezer (The Black Album), as well as their covers album, Weezer (The Teal Album), whose streaming numbers have surpassed 100 million. Weezer has sold 10 million albums in the U.S., and over 35 million records worldwide since their debut album’s release in 1994. Their catalogue has included such megahits as “Buddy Holly,” “Undone (The Sweater Song),” “Say It Ain’t So,” “El Scorcho,” “Hash Pipe,” “Island In The Sun,” “Beverly Hills,” “Pork and Beans,” and more.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

The Weeknd's No. 1 album My Dear Melancholy, available for the first time ever on vinyl. The six songs from this project, including the hit single "Call Out My Name" are featured on Side A of the 180-gram vinyl. Side B features an etched design to make this record a true collector's item. 

Before The Bachelor Pad, there was The Wee Cherubs.
A collection of lost recordings made in Glasgow between 1982 & 1985. Restored and remastered especially for this release.

Formed in 1982 by Martin Cotter, Christine Gibson and Graham Adam & part of the Glasgow indie scene of the early 80’s.

The Wee Cherubs only released one single. The recently reissued Dreaming, (which is included in this set) before calling it a day in 1985. Their range of influences are on show here, and although some tracks are redolent of Orange Juice and Aztec Camera there is no definitive Wee Cherubs sound, which makes this collection an exciting and rewarding discovery

Cotter went on to The Bachelor Pad a psyche fuelled head on collision between The Buzzcocks & Syd Barrett. 

TRACK LISTING

Side 1 
1. Dreaming
2. Pastures New
3. Waiting
4. Two Things At One Time
5.Flame

Side 2
6 Poor Little Lost Soul
7 Painless
8 Goodbye
9 Theme
10 Waiting For My Man 

A lone pair of footsteps meanders down a street in omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations – about wars, sleepless nights – a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: “i think about how much people need – what they need right now is to feel like there’s something to look forward to. We have to hold on. We have to hold on.”

Thus we enter the fitting, cacophonic introduction to bright eyes’ tenth studio album and first release since 2011. Down in the weeds, where the world once was is an enormous record caught in the profound in-between of grief and clarity – one arm wrestling its demons, the other gripping the hand of love, in spite of it.

The end of bright eyes’ unofficial hiatus came naturally. Conor oberst pitched the idea of getting the band back together during a 2017 christmas party at bright eyes bandmate nathaniel walcott’s los angeles home. The two huddled in the bathroom and called mike mogis, who was christmas shopping at an omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, why now? Is the question, but for a project whose friendship is at the core, it was simply why not?

The resulting bright eyes album came together unlike any other of its predecessors. Down in the weeds is bright eyes’ most collaborative, stemming from only one demo and written in stints in omaha and in bits and pieces in walcott’s los angeles home. Radically altering a writing process 25 years into a project seems daunting, but oberst said there was no trepidation: “our history and our friendship, and my trust level with them, is so complete and deep. And i wanted it to feel as much like a three-headed monster as possible.”

As a title, as a thesis, down in the weeds, where the world once was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one’s memories, trying to find the preciousness that’s overgrown and unrecognizable. For oberst, coming back to bright eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn’t actually possible to go back to the way things were, even though there wasn’t an easy happy ending, there was a new reality left to work with.

And here, there is a bleary-eyed hopefulness – earnest, emotive recommitments to love appear on “dance and sing” and “just once in the world.” And throughout, down in the weeds features snippets of oberst’s loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record’s existential crisis, crackling like lightning bugs illuminating the long night.

Down in the weeds is a distillation of a prolific, enduring canon. It’s immediate and urgent, the product of its creators’ growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest bright eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like bright eyes never went away. It’s the impossible, sprawling mess of human experience that bright eyes has always sought to put to tape, since the beginning – the sound of holding on. Why now? Why not?

STAFF COMMENTS

Barry says: It's been far too long since the last Bright Eyes album, and this one shows why we've missed him so much. Beautifully tender melodies, orchestral swoon and soaring crescendos aplenty. This is a new journey for Oberst & crew, but also warmingly familiar.

TRACK LISTING

Pageturners Rag
Dance And Sing
Just Once In The World
Mariana Trench
One And Done
Pan And Broom
Stairwell Song
Persona Non Grata
Tilt-a-whirl
Hot Car In The Sun
Forced Convalescence
To Death’s Heart (in Three Parts)
Calais To Dover
Comet Song

As the birth of Orlando Weeks’ son drew near, he wanted to try to make sense of an experience that is both ordinary and extraordinary at the same time. The result is ‘A Quickening’, an album that tells the story from the point of view of a prospective father-to-be, a figure both vital to the story and yet also somewhat removed, in awe of what the mother goes through and often helpless to do anything about it.

“I was trying to find a course through something that happens all the time, but still feels exceptional,” Weeks says.

A baby is born every minute, and yet the experience of becoming a parent - and the way it promises to change your life - is unprecedented.

Weeks’ voice shimmers as it expresses feelings of love, fear and wonder that are overwhelming but still delicate. Drums trip, woodwind and brass can be heard, piano lines run in and out, vocals layer and guitars are few and far between. This is not the indie rock and roll that some may have predicted.You might think of Talk Talk. You might think of Robert Wyatt. You might think of Radiohead or Bon Iver. You might think of the wonder of Kate Bush. You might think of Lambchop’s late career electronic turn, replacing in that case Kurt Wagner’s Nashville-inflected fragments with Orlando’s chiming and pure delivery, served up by way of South London.

Many of those influences surge and flourish throughout the new single ‘Blood Sugar’. A mesmeric, all-enveloping layer of sound highlighted by choral vocal harmonies. The track includes the line “gone the bell that rung forever… at least as long as I can remember”, a reference to Big Ben which was under repair and had stopped chiming at the time of his son’s birth, Weeks commented; ‘’I couldn’t work out if its silence was a good omen or a bad one.’’ Stranger than that, for much of their time at hospital, Weeks and his partner found themselves in the very same room he was born in.

‘A Quickening’ was created with the help of Weeks’ old friend Nic Nell, who produced, engineered and mixed the album. The pair collaborated on the music that accompanied Weeks’ 2012 graphic novel, ‘Young Colossus’. Nell also runs the label Algebra Records and makes music under the name Casually Here. The album also highlights select performances from members of Weeks’ live band: Caruso (drums on ‘Blame Or Love Or Nothing’ and ‘All The Things’), Sami El-Enany (piano on ‘Takes A Village’ and ‘Summer Clothes’), and Will Petherbridge (the freewheeling solo on ‘St Thomas’’).

In addition to its digital and streaming releases, it will also be available on three physical formats: heavyweight vinyl, CD packaged with a poster, and a limited edition clear deluxe vinyl which will include a signed and hand-finished print. The deluxe vinyl will only be available via Orlando Weeks’ Music Glue store and in select UK independent record stores.

Weeks spent much of his young life as the frontman of Ivor Novello wining band The Maccabees, going on to become a children’s book author in the wake of the band’s disbanding. His first book, ‘The Gritterman’ (2017), came with an accompanying soundtrack and was described by the Financial Times as recalling “Raymond Briggs at his darkest.”

TRACK LISTING

Milk Breath
Blood Sugar
Safe In Sound
St. Thomas’
Takes A Village
Moon’s Opera
All The Things
Blame Or Love Or Nothing
None Too Tough
Summer Clothes
Dream

UK synth wizard James Holden teams up with Polish clarinet guru Waclaw Zimpel for a four track mini album of deliciously Krauty improvisations, recorded back in the summer of 2018 when Zimpel (and, on "Tuesday" and "Wednesday", his longtime collaborator guitarist Jakub Ziolek) joined Holden in his London studio for a series of musical experiments; with the goal of completing one track per day. The resultant "Long Weekend EP" is a captivating, in-the-moment lyrical conversation between alto clarinet and modular synth, judiciously supplemented by guitar, organ, voice and assorted percussion and glued together with atmospheric syrupy tape overdubs. A meeting of two like-minded masters of their instrument, whose disparate musical journeys now converge in a shared love of all things hypnotic and trancey. 

STAFF COMMENTS

Matt says: A well trodden path but none the less arresting when done proper; the merger of advanced synthesis and organic instrumentation can yield dazzling results - perfectly demonstrated here by two master craftsmen.

TRACK LISTING

Saturday
Sunday
Tuesday (ft Jakub Ziolek)
Wednesday (ft Jakub Ziolek)

This is the debut 7” single from DJs Deptford Northern Soul Club featuring two classic floor fillers from mid-60s Detroit. It includes the late Detroit soulman Lester Tipton’s one and only release ‘This Won’t Change’ from 1966, original copies of which go for a staggering $5000. Plus, from 1967, Edward Hamilton and the Arabians’ superb ‘Baby Don’t You Weep’ which the one-time member of The Falcons recorded for Lou Beatty’s Mary Jane label, originals of which go for a paltry £250.

TRACK LISTING

Lester Tipton - This Won’t Change
Edward Hamilton And The Arabians - Baby Don’t You Weep

Vampire weekend return for their newest full-length since 2013's 'Modern Vampires Of The City', this time choosing to go further down the Americana route hinted at on their first LP. We kick things off with the acoustic-heavy duo of 'Hold You Now' and 'Harmony Hall', the former stripping back everything to vox and guitar, accentuated with airy vocal samples and lo-fi hissing only to bring in a choral accompaniment, knocking things into grand orchestral territory. The latter of the two flits between melodic piano and insistent percussion, all accentuated with perfectly phased vocals and flickering acoustic guitar. The technique of stripping things back only to bring it all back in is not a new idea, but the way it's handled here is beautifully done, with filter fades and instrumental shifts clearly highlighting the differing sections without resorting to the usual verse-chorus tropes. 

Move things along a little and we get a bit of synthpop atmospherics ('Unbelievably White'), plaintive jazzy progressions ('My Mistake') and funky angular soul ('Sunflower'), whilst still retaining the underlying sound that makes Vampire Weekend unique. At the heart of things, we still have the same playful progressions and flickering momentum of their earlier work (along with that unmistakeable vocal style and harmonic accompaniment), but brought up to date with a more mature outlook and delicate balance between beautiful harmony and patchwork construction of sound. Brilliantly inventive and warmingly original, this is Vampire Weekend but brought into the present. 

STAFF COMMENTS

Barry says: Vampire Weekend have always stood out from the crowd with their own particular brand of dreamy melodic indie, characterised by rapid changes in direction and richly textured instrumental passages. What we have here is a classic distillation of their sound, spread across a hefty 18 tracks. It was well worth the wait.

TRACK LISTING

1. "Hold You Now"
2. "Harmony Hall"
3. "Bambina" 
4. "This Life" 
5. "Big Blue" 1:48
6. "How Long?" 3:32
7. "Unbearably White" 4:40
8. "Rich Man" 2:29
9. "Married In A Gold Rush" (featuring Danielle Haim) 3:42
10. "My Mistake" 3:18
11. "Sympathy" 3:46
12. "Sunflower" (featuring Steve Lacy)  2:17
13. "Flower Moon" (featuring Steve Lacy) 3:57
14. "2021"  1:38
15. "We Belong Together" (featuring Danielle Haim) 3:10
16. "Stranger" 4:08
17. "Spring Snow" 2:41
18. "Jerusalem, New York, Berlin"

‘Yn Ol I Annwyn’, Welsh for Return To The Underworld’, it is the third part of the trilogy of albums that began with ‘Noeth Ac Anoeth’ in 2015 and 2017’s ‘Y Proffwyd Dwyll’ (which got them nominated for the Welsh Music Prize in 2017). Whilst MWWB as a band, have never been overly visible, they don’t tend to be idle. 2018 saw them release a split 12” with kindred spirits, Slomatics, and being personally asked by Robert Smith of The Cure to play his Meltdown in London. Not to mention playing an international array of dates and other festivals, prior recording this epic third album. So last Summer, along with new bassist Stuart Sinclair, MWWB returned to Skyhammer Studios and Chris Fielding, to create ‘Yn Ol I Annwyn’. The 8 songs that comprise thes album, sees the band delve deeper into their collective influences, embracing full on space rock, atmospheric film soundtracks, melancholic acoustic interludes, psychedelia, cosmic moogs and percussion, moments of introspection and light … and of course, large helpings of doom.


The fat riffs, big hooks and endless space grooves are all present. Jessica Ball’s voice glides over it all, both sweet and melancholy, yet this time more assured. A myriad of stacked harmonies and layered vocals weave in and out of the tracks, adding an ‘other-worldly’ melodicism to the songs. Here’s what guitarist Paul Michael Davies had to say …“For the 3rd album I wanted to take the band's sound even further but still stay true to what made us start the band in the first place. Personally, I think the doom scene is (thankfully) thriving, but some of the ‘genre’ tropes can be a bit limiting, and we are all about pushing that. So some elements of this album will be something different for the usual doom fan. It’s kind of a nice mix of our usual heavy riffs but with some fresh elements.


Vocalist Jessica Ball adds … “Album number 3 definitely fits in with the theme of our music evolving, as we’ve been hinting at with the design on our album covers. I feel that we’ve really pushed the boat out on this one, I can’t wait for it to be released!” In fact the album as a whole, is very much a sonic journey into some cosmos on the edge of forever. The short moog piece ‘Tralfamadore’ is your starting point for a voyage that takes in the cosmic space doom of ‘The Spaceships Of Ezekiel’ which manages to mix prog time shifts, heavy riffing, moog licks and catchiness within its 8 odd minutes. Fata Morgana has its rolling almost folk-ish guitar melody on which Jess Ball’s vocals float and shimmer, until it crashes into full on sludge and shoegaze for the second part of the song. ‘Du Bist Jetzt Nicht In Der Zukunft’ is an atmospheric cello and synth soundscape with Ball’s vocal textures weaving and dancing throughout.

Title track ‘Yn Ol I Annwyn’ is down tuned, fuzz drenched, ethereal. It could almost be pop, if it wasn’t for the strangeness and heaviness that lurks within. Katyusha is a 13 minute plus instrumental. With its many parts and riffs interlocking and changing, it’s a journey in itself. ‘The Majestic Clockwork’ is a chugging leviathan punctuated with cello stabs, staccato vocals, fuzz drones and floating choirs, before riffing out on a moog trip. The album closes with ‘Five Days In The Abyss’ a mix of atmospherics and fat crushing riffs, an ideal way to end our journey … destination … somewhere new. Previous comparisons to Windhand, Yob, Sleep. or whatever, are rendered completely redundant with ‘Yn Ol I Annwyn’. Mammoth Weed Wizard Bastard sound like Mammoth Weed Wizard Bastard, full stop.

STAFF COMMENTS

Barry says: From the thrashing, world-crushing drive of tunes like 'Fata Morgana' to the more meditative synth-led cosmic doom (think Wolves In The Throne Room - Celestite vs Mastodon), MWWB have been a whirlwind of riffage and conceptual brilliance since their 2016 introduction, 'Y Proffwyd Dwyll'. things have only gotten heavier and more intricate and this is without a doubt their most earth-shattering outing yet. Essential.

TRACK LISTING

A1. Tralfamadore
A2. The Spaceships Of Ezekiel 
B1. Fata Morgana
B2. Du Bist Jetzt Nicht In Der Zukunft 
C1, Yn Ol I Annwyn
C2, Katyusha 
D1. The Majestic Clockwork
D2. Five Days In The Abyss

Weezer return with their newest proper outing since 2017's 'Pacific Daydream' (aside from the 'Teal Album', a covers LP from earlier this year). Sporting the trademark Cuomo riffs and smooth punky two-chord battery, Weezer have never failed to write anthemic, catchy pop songs and the black album is no different. Perfectly produced and brilliantly written, this continues to show that the band remain as relevant today as they ever have. Full of an indeterminate amount of riffs and imbued with an energy few bands can fathom after being around for so long. Classic Weezer. 

TRACK LISTING

1. "Can't Knock The Hustle"
2. "Zombie Bastards"
3. "High As A Kite"
4. "Living In L.A."
5. "Piece Of Cake"
6. "I'm Just Being Honest"
7. "Too Many Thoughts In My Head"
8. "The Prince Who Wanted Everything"
9. "Byzantine"
10. "California Snow" 

Iron & Wine follow up their 2018 Grammy-nominated full-length Beast Epic with Weed Garden, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for Beast Epic, but went unfinished. They were part of a larger narrative for principal songwriter Sam Beam, who ran out of time to get them where they needed to be for inclusion on Beast Epic. Weed Garden also includes the fan favorite “Waves of Galveston.”

While on tour last fall, the final pieces of material took shape and a sense of urgency prevailed in bringing these characters full circle. To resolution. To completion. In January, Beam and company hunkered down in Chicago at The Loft recording studio to capture these six songs.  No more, no less.
Weed Garden joins the good company of previous Iron & Wine EP’s – The Sea and Rhythm, Woman King, In the Reins – and in 2018’s attention-span challenged world that's not a bad thing.

STAFF COMMENTS

Barry says: If you've heard Iron & Wine before, you'll be well aware of Mr. Beam's capability for weaving a rich acousticana tapestry, and 'Weed Garden' is exactly that, beautifully played organic instrumentation with a strong melodic sensibility, relaxing and transportative. (Iron &) Wine-not give it a go.

Drive-By Truckers present a live set recorded at The Fillmore in San Francisco, available in two editions.

In the band’s own words: “Thrilled to announce that our long awaited live album, recorded over three nights at the historic Fillmore in San Francisco CA, will be released […]! Our long-time producer, David Barbe, acquired the necessary mobile gear to record us and flew out to San Francisco to capture our three-night stand in November of 2014. We hired some horns, sold some tickets and played three special and unique shows. From those shows we have sequenced a sort of ultimate live DBT collection, one that hopefully captures the essence of our life’s work into one cohesive whole.

“We are releasing two versions... a shorter 13 song version called ‘This Weekend’s The Night’ which provides a Best Of version snapshot of our live show [and] also a larger 35 song box set entitled ‘It’s Great To Be Alive!’ which goes far more in-depth into the DBT catalog and history. Songs and stories spanning thirty years of Drive- By Truckers sequenced to hopefully give as close as possible document of the DBT show.”

This is Glasgow's De Rosa's third studio album and their first for Mogwai's Rock Action Records. They have previously toured with Arab Strap, Doves and Mogwai so fans of those bands plus Interpol, The Twilight Sad and Belle & Sebastian will enjoy this album. 

‘Night Reels’ is Gentlemen’s first collection of blissed-out guitar synesthesia put to record in jaw-dropping style.

Originating separately from the UK, Italy and Australia, the five piece connected through their shared love of the noir, the unknown. Their formation in 2012 was the beginning of a journey which has seen them blossom into a completely immersive and thrillingly eccentric new whole.

“With ‘Night Reels’ we wanted to draw on the sounds we saw as classic but make a forward thinking record – the sort of record we would want to lay back and listen to late at night.”

With ‘Night Reels I’ – the first half of this new collection and their debut EP release the likes of the darkly sweltering ‘Late Nacht’ and the twisted pop of ‘Children of The Setting Sun’ saw their output acclaimed by the likes of Zane Lowe, NME and The Guardian as well as packing out shows in their adopted London hometown. Now with its espousal tracks ushered in by the glorious bombast of ‘Gentle Duke’, Gentlemen’s beautifully kaleidoscopic vision comes fully into light.

Balancing their astute pop sensibility with a massive array of breathtaking instrumentation and swooping melodies – note the ornately mellow keys of ‘Midnight Movie’ switching seamlessly to the cathartic, genre-bending instrumental of ‘Underground’ – ‘Night Reels’ is the display of Gentlemen at the peak of their mind-altering powers.

Limited Edition - 300 units only.

“What the Beatles might have sounded like in 1972, post-T Rex.” - The Guardian

“Following in the Technicolor wake of Tame Impala and Temples, London’s Gentlemen take the glam-pop template and twist the kaleidoscope until it contorts into their own unique vision.” - NME “Sounds like something that might’ve spilt from the pen of Kevin Parker on a lazy Sunday, and which may or may not be offered in tribute to one of the band’s idols, late jazz-fusion pianist George Duke.” - The Fly

TRACK LISTING

1. Late Nacht
2. Sailor (Of The Cosmic Ark)
3. Children Of The Setting Sun
4. Duke Oddity
5. Gentle Duke
6. Saturday Noir
7. Midnight Movie
8. Underground

San Francisco's (via Brooklyn) post- punk trio, WEEKEND, release their sophomore LP, 'Jinx' internationally on Nov 25th through the bands own label, Strange Dog Records, distributed by INgrooves.

Founding band members Shaun Durkan (vocalist/bassist/guitarist) and Kevin Johnson (guitarist) first met and joined creative forces when they were just 12 years old, both performing in their middle school band. Their schooling continued through the record collection of Durkan’s father, the singer in post-punk band Half Church, who exposed the boys to the likes of the venerable Killing Joke and the Cure, both bands that have remained influential for the band today. Abe Pedroza on drums, the boys room mate from their time at San Francisco Art Institute, makes up the trio for this album.

After the release of the WEEKEND's debut long player 'Sports' in 2009 and the subsequent international touring that followed with bands such as The Kills and The Wire; the WEEKEND relocated from their native San Francisco and headed East; across country; to arrive on the already saturated music scene shores of Brooklyn NYC.

Despite the drastic change in scenery the band spent most of 2012 writing, recording and painstakingly mixing the 10 songs that make up 'Jinx' a time that Durkan describes “the most trying though rewarding experience so far.” And what about the move itself? Well Durkan goes on to explain: “Feeling at home is evidence of stagnation and so I’m happy to say New York still feels alien to me. Geographically-based music scenes are for the most part defunct due to the internet but I don’t think we’ll ever be part of any scene. We stand on our own.” When asked to described the album 'Jinx' in 3 adjectives, Durkan states, “Volatile. Cathartic. Bittersweet. The record is a collage of inspiration and ideas from each member of the band. Shards of experiences, images, smells, sounds moulded into something we can collectively call ours.” The themes behind 'Jinx' are visually represented on the album too, through personal possessions of each band member that “...had singular and emotional connections which were then democratized through a physical process. Painting the objects black adds a new, collective ownership over the previous personal meaning. [There is] the coalescence of our individual art to make something new, stark, and powerful.” That stark black visual sheen compliments the songs that embody ‘Jinx’. Memories and experiences have been reinterpreted and recalled into existence from haunting, beautiful places. Each song on the album charges through a polarizing emotion through an ebb and flow of sounds both ominous and soothing. Lastly, the LP’s superstitious title compliments this body of work thematically. Shaun recalls his father’s stage name, ‘Jinks’ which played a ghostly role in the creation of this album. That name, like all the inspirations, emotions and experiences has returned to haunt the band – this time delivered with a lustrous and magnificent black sheen. The band are fittingly marking the announcement of the albums international release with the launch of a haunting new video for album track 'Rosaries' and will be touring Europe throughout Nov and Dec.

'Weekend's new second album Jinx calls to mind My Bloody Valentine and Psychedlic Furs simultaneously with its mix of shoegazey guitar swirl and pretty, ringing gloom.' NPR

TRACK LISTING

1. Mirror
2. July
3. Oubliette
4. Celebration
5. Sirens
6. Adelaide
7. It's Alright
8. Rosaries
9. Scream Queen
10. Just Drive

Vampire Weekend’s third album is ‘Modern Vampires Of The City’, released on XL Recordings.

When asked in interviews about the new record, the band have been guarded in describing it, but have stated the album is darker and warmer, saying in Triple J Magazine that “this is our most American album” and citing New York City at night as inspiration for the new sound. The band told interviewer Zan Roew that they focused on “good songwriting”, saying “we wanted the songs to just be amazing”, working towards a sound in which “something that sounds traditional and maybe something that seems modern come together and it feels natural.”

The cover art is a 1966 photograph by Neal Boenzi of the smoggiest day in New York City history, on which the air pollution killed at least 169 people.

TRACK LISTING

1. Obvious Bicycle
2. Unbelievers
3. Step
4. Diane Young
5. Don't Lie
6. Hannah Hunt
7. Everlasting Arms
8. Finger Back
9. Worship You
10. Ya Hey
11. Hudson
12. Young Lion

Debut album on Secretly Canadian for widely respected Italian / London artist now relocated to New York.

Mauro Remiddi's androgynous vapor of a voice weaves like a ghost between Nick Gilder and The Alessi Brothers, Julee Cruise and Judee Sill. In more contemporary terms, Porcelain Raft stands confidently on a high hill between the sounds of M83 and Beach House. Lead track "Drifting In and Out" is loping and anthemic; gauzy and chiming. "Shapeless and Gone" follows with a heavy strum reminiscent of "Cosmic Dancer" -- full of mood and style without all the wearying excesses and feathered boas. Porcelain Raft's thesis statement hits when side B kicks off with "Unless You Speak From Your Heart." Remiddi's androgynous vocals carrying a hook so simple that you might think you sang it first; keys and bass that might make the needle jump off of your turntable; and a sense of raw sincerity that has come to trademark Remiddi's songs is what ultimately resonates.

STAFF COMMENTS

Andy says: Heartstring twanging, massive, classic chord changes with yearning vocals drifting around. This is like Puressence, but played by Twin Shadow. That gorgeous, sometimes anthemic quality is offset by bedroom electronics and distortion. Absolutely mega!

Darryl says: Serene and utterly gorgeous, welcome to the world of Porcelain Raft. An angelic vocal that floats majestically over a delicate and melancholic soundscape, bringing to mind a futuristic Joy Division, M83, and an electro-infused My Bloody Valentine.

Some bands stay in a holding pattern their whole careers. Others jerk the steering wheel hard and fly off the road. On their second album, Vampire Weekend do neither. Or maybe they do both. “I think we sound more like Vampire Weekend than we did on the first record,” says drummer Christopher Tomson.

"Contra" pulls off a series of impressive feats: It’s bustling with fresh ideas and yet it sounds immediately familiar; it’s heavily layered but taut and kinetic; it chews ravenously through sound palettes and rhythms, and yet it’s nimble and assured; it’s still breezy, and yet it smolders with a newfound emotional heft. “It’s sadder than the first one, a bit more sentimental,” says singer Ezra Koenig. The songs are catchy, fast, twinkling, clattering – the darker themes of loss, doubt and regret accumulate almost imperceptibly, but they land a powerful blow.

TRACK LISTING

1 Horchata
2 White Sky
3 Holiday
4 California English
5 Taxi Cab
6 Run
7 Cousins
8 Giving Up The Gun
9 Diplomat’s Son
10 I Think Ur A Contra

Greg's words on the album: 'Frustrated with new methods and mindset in recording technology I threw up my hands and built my own analog recording studio. My last album, Blood Is Trouble (as well as the first Espers record) was recorded on a 1⁄2" 8 track machine. Eventually I was able to upgrade to an MCI 2" machine and professional recording console which have allowed for better sound quality and greater experimentation. Having a home studio has allowed me to record and produce albums at a comfortable pace consistent with my own levels of inspiration. Key to the album's sound was the acquisition of a vintage Mellotron keyboard. The Mellotron is doubtless my spirit animal in instrument form and is certainly one of the main inspirations behind "The Hive". No other instrument conveys the characteristics of hive insects as well as this legendarily warbley tape based sampler. "The Hive" is primarily a response to the atmosphere of apocalypse that permeates the lives of those who are open and receptive to their environment (not to mention the general global condition). That's not to say the album's entirely about misery and despair. Quite the contrary; I have a good amount of fun trolling through the backwaters of my own dank grey matter (often darkly comical), and each of these songs have multiple meanings, so glean from them what you will. It also contains a cover of Madonna's "Borderline", my first recorded cover since tackling Cat Power's "King Rides By" on "Fire In The Arms Of The Sun". This was meant to be a future Espers release but I got antsy waiting for the next covers record to come about so here it is (after three years of simmering on my mental back burner).'

New album from the Sunderland based Field Music stable this time helmed by Peter Brewis. An epic 32 minutes, sonically inspired by the Linn Drum and Fairlight experiments of Kate Bush, Japan and Peter Gabriel. A loosely conceptual album based around a dreamt up murder mystery and the strain between the public's reliance and distrust of mass media.

Dealing in genres the band have dubbed 'Cape Cod Kwassa Kwassa' and 'Upper West Side Soweto', Vampire Weekend is a breath of fresh air, both musically and lyrically, with this New York band endeavouring to make music that is anything but straight ahead rock. This is indie-rock that isn't indie-rock, a joyously exuberant carnival of melody and rhythm. Strings. Organs. Afro-funk guitars. Courtly 18th century harpsichord. A bit of post-punk (maybe Franz Ferdinand crossed with the Bhundu Boys?). Lyrics about grammar and architecture and preferred bus routes and the British Imperial origins of American preppie fashion. With fleet-footed pizzazz Vampire Weekend deploy all these to craft a tinglingly refreshing sound. Anyone for brainy party music?

TRACK LISTING

1 Mansard Roof
2 Oxford Comma [Explicit]
3 A-Punk
4 Cape Cod Kwassa Kwassa [Explicit]
5 M79
6 Campus
7 Bryn
8 One (Blake's Got A New Face)
9 I Stand Corrected
10 Walcott [Explicit]
11 The Kids Don't Stand A Chance

The title says it all: "Living For The Weekend" is a hedonistic blast of guitar riffs and synth stabs, documenting the grinding out of nine-to-fives in pursuit of that Friday night clubbing buzz craved by a whole generation of British society. For Hard-Fi the setting is Staines, tipping a nod to the town's infamous night club Cheekees, but this is a song for anyone in any town. As front man Richard Archer sings: 'Oh yeah, I look around me and I can see. This room is full of people like me. All living for the weekend'.

'Criminal Records presents "Two Weeks Of Feast, Two Weeks Of Famine", an eclectic mix of indie, rock and pop by Norton. The EP was co-produced and mixed by Matthew Ollivier (Manic Street Preachers, Doves, The Veils) and fluidly combines various styles.'

The most visceral, lo-fi, ultra old skool, pit of hell punk tracks I've heard for years.

Burnpile are one of the new breed of US straight edge hardcore units unleashing their onslaught across the USA these days. This debut combines the fury of old skool bands with complete hardcore violence from Oklahoma's hardest punks. From the thundering opening bar chords of thrash to the haunting Nick Blinko-esque artwork this has everything a straight edge fan needs.

In Control like it fast and rough! Ranting hardcore in the old skool tradition, short songs then he's off again on another rant. Much hellstorm fury and vitriol in a class of their own.