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Aggrolites [Reggae Now! (Incl. Download)]

May 24 street date. You can’t keep a good band down. With ceaseless, unwavering fan support, The Aggrolites reconvened in late 2015 to lay down three songs, “Aggro Reggae Party,” “Help Man” and “Western Taipan,” which reminded them that, hey, they’re still pretty damn good at this. They never gave up, thankfully! That one-off recording session was the spark that eventually created this album, certainly their best to date. REGGAE NOW! is the Aggrolites’ sixth full-length, and first with Pirates Press Records. Written and recorded throughout 2018, the album finds these architects of “Dirty Reggae” reestablishing their signature sound, re-recording those three songs from 2015 as well as adding on 11 more originals that snap, crackle and pop just as much as your favorite Aggro songs from back in the day. “Their tunes perfectly echo the human chemistry you can hear in those early Jamaican productions,” says reggae icon Don Letts. “The band’s old-school analog sound totally captures the spirit of the music I grew up on.” “The Aggrolites have stretched out, and gotten it even more right, at exactly the right time,” agrees Lynval Golding, vocalist/guitarist for Two-Tone legends the Specials. “This is THE album.”
Apex Manor [Heartbreak City]

May 31 street date. Requiring less than two weeks of studio time to complete, it's accurate to say that Apex Manor's Heartbreak City was captured more than it was recorded due to the "everybody in the same room" live sessions featuring songwriter Ross Flournoy on guitar and vocals, Dan Allaire (The Brian Jonestown Massacre) on drums, and Rob Barbato on bass and production duties. The raucous result is a sonic spectacle that cleverly balances aggressive Dinosaur Jr.-esque guitars with dreamy synth work that's reminiscent of The Cure, all mixed together with spirited instrumental performances, nuanced melodicism, and lyrics that swing wildly between being cryptic and being profound. In short, it's everything there is to love about early '90s pre-commercialized alternative rock but with a refreshingly modern absence of pretense or nostalgia.
Bad Religion [Age Of Unreason]

June 14 LP street date / May 3 for CD. BAD RELIGION began in the sprawling suburbs surrounding Los Angeles, with the teenage punks offering an impassioned counterpoint to a culture of consumerism and anti-intellectualism. Founding members Greg Graffin, Brett Gurewitz, and Jay Bentley were eventually joined by guitarists Brian Baker of Minor Threat, Mike Dimkich of The Cult, and drummer Jamie Miller of …And You Will Know Us by the Trail of Dead. Bad Religion have been highly influential force in modern punk, producing beloved international hits like “Infected,” “21st Century (Digital Boy),” and “Sorrow,” and building a devoted worldwide following. BAD RELIGION are set to release their new album Age of Unreason, which can be described as “a musical manifesto on the current political landscape.” In a world still brimming with rampant anti-intellectualism, inequality and oppression, the band’s signature brand of sonically charged humanist dissent seems as relevant as ever.
Bikini Kill [Pussy Whipped]

May 31 street date. Originally released in 1993 and out-of-print the last seven years, "Pussy Whipped" is Bikini Kill's debut full-length. Bikini Kill was a feminist punk band based in Olympia, WA and Washington, D.C., forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (aka Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early 90s via their political lyrics, zines, and confrontational live performances.
Charles, Tanika [The Gumption]

May 17 street date. Record Kicks presents the new album by Juno Award and Polaris Music Prize-nominated Canadian soul star Tanika Charles, produced by a stable of some of Canada's finest musical minds including DJ Kemo (The Rascalz, Kardinal Offishall), Chin Injeti (DJ Khalil, Eminem, Drake) and Daniel Lee (Hooded Fang, Phedre). "The Gumption" picks up where "Soul Run" left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, "The Gumption" was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D'Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs.
Cold Showers [Motionless]

May 24 street date. A few years have passed since their last album for DAIS, but Los Angeles-based Cold Showers steadily returns to the label’s roster with their third album, "Motionless", wielding a more developed pop sound that is familiar to followers, yet more sophisticated and evolved than their previous works. Having traversed the realm of synth-laced post punk expertly for close to a decade, their return with "Motionless" is a process-based album that reaches into the band's collective quiver, melding their familiar anthem infused post-punk and lush, grand pop influences.
Com Truise [Persuasion System]

May 17 street date. For nearly a decade the story of Com Truise has relied on science fiction and abstract fact. Seth Haley's singular style of melodic beat music subsists as hazy machinist nostalgia, a mainframe downloaded cosmology. Yet with each release, alongside sonic refinement, comes an increasingly visible vapor trail to Haley's own ontology. His long-awaited 2017 LP Iteration brought to completion a conceptual space saga while also reflecting seismic life changes for the producer and designer. With mini-LP Persuasion System, Haley leaves the past narrative behind, settling into a new period marked by change - on this planet, in the present - putting forth his most grounded and visceral work to date.
Eluvium [Pianoworks]

May 31 street date. "Pianoworks" is Eluvium's first solo piano album since his sophomore album, "An Accidental Memory In The Case Of Death" (2004). Inspired by the quiet thoughts and solitary observations of children - and the evolution/dissolution of that ephemeral, uncorrupted wander of simple joy - "Pianoworks" begins with a song about children's piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record's dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience.
Endless Boogie [Vol. I, II (2LP)]

May 17 street date. It was never intended to get this far. Endless Boogie had been a band for six years when they were invited by Slint to play the All Tomorrow's Parties festival in the UK. Up to that point, they had been perfectly content existing only at their weekly Lower East Side rehearsals (and the occasional New York City show). They figured if they were leaving the country to play a show, they should have something to sell, so they pulled some recordings from their rehearsal tape archive, ran two small pressings, hand stamped some sleeves, and the Endless Boogie story officially began. The records (often referred to as "black" and "white") have long fetched high prices on the secondary market. They're back in print here and packaged together as a double CD / double LP set. Vinyl comes in an debossed gatefold jacket. CDs come packaged in a gatefold wallet.
Fall [Live At The Witch Trials (3CD expanded edition)]

May 24 street date. The first release in Cherry Red's new series of deluxe Fall reissues is a 3CD expanded edition of their first studio album, originally released in 1979. Alongside the full album is a disc of single a and b-sides and session tracks and a live show from Mr. Pickwick's in Liverpool 1978. The box set also features a booklet of new sleeve notes by Daryl Easlea and has been remastered by long-term Fall engineer Andy Pearce.
Fall [Dragnet (3CD expanded edition)]

May 24 street date. 3CD expanded edition of The Fall's second studio album, originally released in October 1979. Housed in a clamshell box, this edition includes the original album along with several single a and b-sides and alternative takes plus live shows from Retford in 1979 and Los Angeles in 1979. The box set also features a booklet of new sleeve notes by Daryl Easlea and has been remastered by long-term Fall engineer Andy Pearce.
Fu Manchu [Godzilla's/Eatin' Dust (3 x 10 inch)]

May 17 street date. Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 29 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999). Last year, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998). The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favourites “Eatin’ Dust” and “Mongoose”. The vinyl packaging is comprised of 3 10” records (in a nod to the original 10” releases) with each of the three pressed on a different custom colour in a limited run of 2000. The vinyl is housed in a triple gatefold package with never before seen photos of the band. The CD version of the album has also been remastered for maximum fidelity.
Guitar Wolf [Love & Jett]

May 24 street date. Back with their 13th studio album, Guitar Wolf's newest LOVE&JETT is full of the group's sweet, sweet love songs, all recorded in Japan. The energy explodes on the scene with the title track’s opening 1-2 bass-snare piston-fire and truly does not let up at any point on the full album. The band shines especially bright on Sex Jaguar, barely clocking in just over 2 minutes with chorus catchphrases and feline roars. While each song’s words (apart from a handful of song titles, 1-2-3-4s plus a clever cover of Spencer Davis Group's Gimme Some Lovin’) punch out in their native Japanese, the adoring English-speaking public will be granted an insert enclosed in each LP and CD with all lyrics translated to English. So with your heart flying high and faster than Mach speed, the untouchable legends Guitar Wolf are back to rush you away into another dimension.
Hecker, Tim [Anoyo]

Please note new street date May 24. Montreal's Tim Hecker returns with "Anoyo", which draws from the same sessions with members of Tokyo Gakuso which led to the 2018 work "Konoyo", but rendered starker, solemn, and stripped back, with more of a naturalist tint. Hecker's processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters. This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, "Anoyo" inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return.
Kishi Bashi [Omoiyari]

May 31 street date. Channeling the hard-learned lessons of history, Kishi Bashi's fourht album "Omoiyari" reflects the turbulent socio-political atmosphere of present day America. Kishi Bashi recognized parallels between the current U.S. administration's constant talk of walls and bans, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor. So he immersed himself in that period, visiting former prison sites and listening to the stories of survivors, while developing musical concepts along the way. The strong conceptual elements of "Omoiyari" are driven by Kishi Bashi's captivating musical score. Stepping away from his past loop-based production model, he embraced a more collaborative approach when recording, and for the first time included contributions from other musicians. Kishi Bashi’s spectacular trademark violin soundscapes are still an essential component of his sound, but the focus of Omoiyari is centered squarely on its songs.
Lahey, Alex [The Best Of Luck Club]

May 17 street date. On her sophomore LP, "The Best Of Luck Club", 26-year-old Australian Alex Lahey navigates the pangs of generational ennui with the pint half-full and a spot cleared on the bar stool next to her. Self-doubt, burn out, break-ups, mental health, moving in with her girlfriend, vibrators: "The Best of Luck Club" showcases the universal language of Lahey's sharp songwriting, her propensity for taking the minute details of the personal and ipping it public through anthemic pop-punk. "The Best Of Luck Club" dives head first into a broader spectrum of both emotion and sound through polished, arena pop-punk in the vein of Paramore with the introspective sheen of Alvvays or Tegan & Sara.
Le Bon, Cate [Reward]

May 24 street date. It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned — for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date. Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick —Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H.Hawkline) and Josh Klinghoffer on guitars — and were added to the album, “one by one, one on one”. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate LeBon’s solo work — and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.
Nocturnus AD [Paradox (2LP)]

May 24 street date. Resurrected from the ashes of one of the most influential death metal bands of all time—Nocturnus—Nocturnus AD was initiated by founder / mastermind / death metal legend Mike Browning (also co-founder of Morbid Angel) to continue the path that was laid down, twenty-eight years later, by the legendary Florida death metal band’s seminal 1990 album The Key, an album recognized as one of the most important death metal albums of all time. Entitled Paradox, this debut album is the direct and proper follow-up to that album, musically and thematically, with the story and themes vocalist / drummer Browning laid out then continuing on through the lens of the occult. The story follows the journey of Dr. Allen William Magus (aka Dr. Magus), a scientist who got ravaged by a war plague disease and kept what was left of himself alive by creating a bio suit. Musically, the album’s otherworldly, technical dark atmospheric occult death metal blueprint harnesses and carries on the energy of the original album as well as the overall cult death metal vibe of the early ’90s in the singular forward-thinking that Nocturnus exhibited back then. With Browning commanding the craft alongside a lineup that also forms his other band, After Death, the Nocturnus legacy continues through guitarists Demian Heftel and Belial Koblack, bassist Daniel Tucker (ex-Obituary), and keyboardist Josh Holdren. With the blazing and fervent guitar work and the carefully orchestrated keyboards being the most developed out of any Nocturnus-related release, these integral components solidify the calculated pummeling rhythm section and resurrect their classic sound. And of course Browning’s distinct vocals spewing the incantations contain the classic vocal traits from the original album as well as Morbid Angel’s classic Abominations Of Desolation, which Browning was the co-writer of. Paradox will see Nocturnus AD reclaim and continue to properly carry the torch of the legacy Nocturnus’ laid down with The Key, finally, after twenty-eight years.
Pollie, Ryan [Ryan Pollie]

May 17 street date. Inspired by the warm, inviting sounds of ‘70s singer-songwriters like Jackson Browne and Graham Nash, Ryan Pollie wanted to make the most personal music of his career. He had released two albums as Los Angeles Police Department, and now he was ready to shed the protective barrier of his old band name — to make music, simply, as himself. Bolder and crisper than the albums he’s made as Los Angeles Police Department, his self-titled record emerges from a deeply collaborative place. He invited many of his closest friends over to his home to record the album, and a feeling of warm camaraderie shines through the music. “When somebody plays on a song, their character is in it,” he says. “I like to think all my friends are on this record. Their personality is in it. That was really important to me. I’m able to do what I do, mentally and emotionally, because of the people around me.”
Reading Material [Blood On Black Wax: Horror Soundtracks]

May 24 street date (date change). (Please Note: RSD edition is out of print. This is the "wide" release edition, available to ALL customers. Lower price than RSD version. It is NOT signed, and does NOT include the special edition RSD Prom Night 7") Hardbound 240pg Coffee Table Book by Aaron Lupton & Jeff Szpirglas - - - Are you obsessed with John Carpenter's iconic music for the Halloween series? Do you thrill to the unforgettable stabs of Bernard Herrmann's Psycho score, or the pounding synth of Goblin's soundtrack to Suspiria? Do you find yourself being pulled into the hair-raising modern scores for the likes of Get Out, Hereditary, and The Witch? You're not alone. Blood on Black Wax is a defining horror soundtrack volume that spotlights iconic franchises such as A Nightmare on Elm Street, Friday the 13th, Jaws, The Exorcist, and George A. Romero's Dead films, highlighting both the music and the amazing – often rare – artwork that graces the record sleeves. It also tells the stories behind the soundtrack, from the mouths of the musicians who made them, including John Carpenter, Fabio Frizzi, Christopher Young, Harry Manfredini, Charles Bernstein, Pino Donaggio, John Harrison, Denny Zeitlin, and more. Aaron Lupton and Jeff Szpirglas, both of Rue Morgue magazine, have curated Blood on Black Wax to reflect their own passion for the darkest slabs of soundtrack music. Their journey into the fascinating history of horror movie scores contains reviews, release details, and wild stories about both renown and unusual releases - everything from the orchestral sounds of Hammer and Universal horror, to the truly experimental albums for The Texas Chainsaw Massacre and Eraserhead, to the outlandish punk and metal songs of '80s soundtrack albums like The Return of the Living Dead and Shocker.
Siskiyou [Not Somewhere (180g)]

May 17 street date. Siskiyou returns from a four-year hiatus with "Not Somewhere", an album that finds band leader Colin Huebert (ex-Great Lake Swimmers) essentially in solo artist mode, writing and self-recording this new collection of tunes on his own, playing all the guitar, bass, keyboard and drum parts himself. "Not Somewhere" harkens back to Siskiyou's magical and understated 2010 self-titled debut in this and other ways: the album's production rekindles a homespun intimacy, where plain-spoken lyrics grapple with portraits of quiet quotidian despair, fragile existential horizon lines separating perseverance and defeatism, honest and unremarkable lives trapped in cultures of false consciousness, impossible desire, self-analysis and self-medication.
V/A [Electrical Language (4CD): Independent British Synth Pop 78-84]

May 31 street date. The year - 1978. The mood - revolution. The latest addition to the musician's sound palette - the synthesiser. And so a new sound was born, and one which would free pop music from its guitar dominated tradition into something with a bright new future which would write itself. Almost overnight, via a handful of key single releases, the big bang of punk produced something the kids called ‘synth-pop’. Cherry Red presents "Electrical Language" - a 4CD/80 track set exploring the independent side of the UK's post-punk synth-pop boom. From household names and scene legends to underground outsiders and bedroom experimenters. Packaged in hardback book format, including over 12,000 words of sleevenotes (including artist-written pieces), introductory essay by Dave Henderson and period imagery. With key tracks and hidden gems from Mute Records, Rough Trade, 4AD, Survival Records, Cherry Red and a host of essential independent players.
Webster, Faye [Atlanta Millionaires Club]

May 24 street date. On 21-year-old Atlanta native Faye Webster's new album, the omnipresence of pedal steel eschews bluegrass trappings, flexible under Webster's genre-bending direction. Webster didn't set out to make it sound like any artist in particular, but she cites Aaliyah as her main musical inspiration for how she uses sound. Pulling from a familial lineage of folk storytelling and time spent in Atlanta's hip-hop scene, Webster's work is a study of duality, weaving through her own introversion and heartbreak; it's an idiosyncratic sadness punctuated by fleeting observations and an unexpected, sly sense of humor. And like the way Webster takes the traditional instrumentation of Americana and flips it into something else, she uses her own calm, laid-back demeanor to say you can be boldly and unapologetically yourself in a quiet way, too.

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