Pop & Rock Novedades

In September last year, Josh Tillman stopped by our Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised us all with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. We, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion.

As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before we started cutting the LP. He began with the debut performance of his newly penned 'Mr. Tillman' (foreshadowing its release as the first single on God's Favorite Customer 9 months later). We then used the second song as an opportunity to carve a 12' on-the-spot single of 'Now I'm Learning to Love the War,' which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you'll have to scour the depths of FJM's fan net.

Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare





Virgins)

X149 COPIES previously available via rocket mailorder. Mamuthones take their name from the death-masked incarnations that have walked the processions and haunted the imaginations of the Sardinian locals in the traditions of their carnivals for centuries, and they emerged initially from the Italian occult psychedelia movement. Yet in keeping with the celebratory origins of their monicker, this band - originally formed by ex-Jennifer Gentle (Sub Pop) seer Alessio Gastaldello - are possessed of an upbeat and effervescent sound that's equal parts riot and ritual. It's one that's seen them make waves around the globe, first striking out on Rocket Recordings with the 'Collisions 04' split release with Evil Blizzard last year, and their new 12' 'Symphony For The Devil' - which coincides with a visit to Liverpool International Festival Of Psychedelia - only serves to further guide their spectral magick towards the dancefloor. Perhaps recognising that the Rolling Stones original is in need of desecration more than reverence, the lead track herein is a spectacular and sacrilegious reinvention, filtering their avant-garage sensibility through a kosmische-disco prism to arrive at something akin to a deviant marriage between the electro-charge of LCD Soundsystem and the elegiac lysergia of Spacemen 3's 'Big City'. What's more, an imposing remix by Howling Owl artists and Bristol's new kings of noise Giant Swan (also playing at Liverpool Psych Fest this year) twists it anew into a drone-based vortex of dub echo and Liars-esque nihilism. Meanwhile, 'Any Longer' (from the sessions that produced the 'Collisions' material) throws us back into guitar-drenched monomania, tapping gloriously into the ley-lineage of 'Monster Movie' and 'Live At The Witch Trials' before being disassembled in another remix by Italian dance maestro Lucretio, who also contributes a remix of 'Symphony For The Devil' available exclusive to the digital edition of the EP. This barnstorming EP catches the mercurial Mamuthones using their genre-transcending vision and hedonistic intensity to create something primal and potent, mischievous and malevolent. Frankly, Liverpool isn't going to know what's hit it.

Signed to Atlantic Records in the hubbub after Nirvana's Nevermind exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like 'Honeybucket' received MTV airplay.
- First time on vinyl since 1993
- Mastered directly from original analog tapes
- Six tracks produced by Kurt Cobain
- Cover art by legendary artist Frank Kozik
- Includes the vinyl-only bonus track 'Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)' originally by the MC5

Third Man Records is proud to announce the reissue of Muddy Waters' fifth studio album Electric Mud, which comes as a continuation of Third Man's partnership with Universal Music Group and the Estate of Muddy Waters.

The album, which Chess originally released in 1968 has not seen a legitimate domestic vinyl release since 2002, despite its enormous influence on generations of blues rockers. It features members of Rotary Connection as Muddy's backing band and was very controversial upon its release for its fusion of electric blues with psychedelic elements. The album is now recognized as a forward-thinking classic, sampled extensively by artists like The Black Keys and Gorillaz.

Pantayo explores what’s possible for contemporary kulintang music with the atonal blend of kulintang ensemble instruments with vocals and electronic production. The album features eight diverse songs speaking to Pantayo’s musical influences as queer diasporic Filipinas. Produced by Yamantaka // Sonic Titan’s alaska B, Pantayo was written and recorded from 2016-2019 in Toronto.

Pantayo is an audio diary of how the ensemble has grown together as writers and performers. The songwriting process started with members workshopping and performing traditional kulintang pieces from the Southern Philippines, often instrument-switching on the kulintang, agongs, sarunays, gandingan, bandir, and dabak. Adapting kick drums and synths to the modal tuning of the gongs further expanded Pantayo’s ability to incorporate modern musical expressions such as punk and R&B. “If you listen to the recordings of our rehearsals and songwriting sessions, you can hear us deconstructing the kulintang parts section-by-section and practicing our songs in different styles” says keyboardist and vocalist Eirene Cloma. “You can also hear how close we’ve gotten and how our creative workflow strengthened over the years.”

Grounded in the interpretation of kulintang music, Pantayo can be a vehicle for discussions around diasporic Filipino identity. All five members have different experiences of settling in Canada and with that comes their relationships with music. Kat Estacio, co-founder of Pantayo, says “One way that we can make this world feel like home for folks like us is to mix the kulintang music that we learned with different sounds and song structures that feel familiar to us."

The new album from Veteran NYC Death Metal legends AFTERBIRTH.

Flip Phone Fantasy, the sophomore album from the Melbourne-based nu-metal band Ocean Grove. The album features recent singles SUNNY "an absolute anthem for summer" Wall of Sound, JUNKIE$ ["a mixture of ’90s-loving grunge & nu-metal" KILLYOURSTEREO], Ask For The Anthem, Glass Gloss. Their critically acclaimed 2017 debut album The Rhapsody Tapes, which debuted at #5 on the ARIA Albums Chart, received praise from Kerrang! ["intriguingly non-conformist debut"], 24hundred ["ducks and weaves through a multitude of genres"], KILLYOURSTEREO, and was a triple j 'Feature Album'. Released via Australia's leading heavy music label UNFD.

On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s. Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks. Formats include Black double Gatefold Heavyweight LP, a CD Mintpack and a Deluxe Hardback CD version with additional tracks.

“I hear noises, imaginary sounds”. Re-issue of Siglo XX's first tape. Recorded in April 1981 and distributed among friends and at gigs, this tape was the first product of their collaboration. And what a tape this is! Heavily influenced by the likes of Joy Division & the whole Factory scene, Belgian’s finest produced a total of nine incredible dark but catchy cold wave tunes. Add to this two bonus tracks from their first demo cassette & you have an essential document of the first Siglo XX years.

A live album recorded at the Third Man Detroit location from Motor City's sweetest psych-folk groovers, Bonny Doon. Hot off the heels of their Woodsist Records album "Longwave," this live LP features beautiful live takes from their full discography. Vinyl/Download Only.
A live album recorded at the Third Man Detroit location from Motor City's sweetest psych-folk groovers, Bonny Doon. Hot off the heels of their Woodsist Records album "Longwave," this live LP features beautiful live takes from their full discography. US Sales History - 1/31/2018 - Longwave (Woodsist) - 715 LTD Equivalents 3/10/2017 - Bonny Doon 766 LTD Equivalents Socials - 4.3k followers Instagram, 3.4 followers Facebook Served as opening band and backing band for Waxahatchee - spring tour 2019 Toured with Snail Mail and Band of Horses - summer 2018

‘Garlands’ was the Cocteau Twins’ debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting,” “spellbound,” “diaphanous” and discerning a “frosting of sweetness,” the critics wore out their adjectives; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material.

This is ‘Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes, pressed on 140g black vinyl and includes a digital download code. ‘Victorialand’, Cocteau Twins’
fourth album, was released in spring 1986. The largely acoustic, nonpercussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil’s second album.

Dif Juz labelmate Richard Thomas guested on tabla and saxophone. The Guardian said “It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice.

‘Victorialand’ is remastered from the original analogue tapes,
pressed on 140g black vinyl and includes a download code.

‘Garlands’ was the Cocteau Twins’ debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting,” “spellbound,” “diaphanous” and discerning a “frosting of sweetness,” the critics wore out their adjectives; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material.

This is ‘Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes, pressed on 140g black vinyl and includes a digital download code. ‘Victorialand’, Cocteau Twins’
fourth album, was released in spring 1986. The largely acoustic, nonpercussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil’s second album.

Dif Juz labelmate Richard Thomas guested on tabla and saxophone. The Guardian said “It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice.

‘Victorialand’ is remastered from the original analogue tapes,
pressed on 140g black vinyl and includes a download code.

By A Thread’ documents 4 shows in London that saw Devin Townsend perform his quadriology of albums Ki, Addicted, Deconstruction & Ghost in full. Originally released in 2012 on CD/DVD and sold-out ever since, this is the first time they have ever been available on vinyl. Specifically mastered for vinyl, and available across 10 heavy-weight 180g LP’s in a sturdy two-piece box with LP-booklet and brand new liner notes. Each of the 4 albums performed live comes as a gatefold 2LP, as well as a fifth 2LP featuring the encore material performed across the 4 nights.

Dungen Live is a document of a band playing with and beyond time, passionately reviving a slowly storied history of sound. A captivating ride captured and collaged from two shows in their native Sweden and assembled into one piece of continuous music by producer Matthias Glava. Dungen Live covers all the peaks and valleys, the moments of intuition and inspiration, and the cosmic connectivity between a family of musicians that makes each Dungen show a spiritual shift. The source material for Live was recorded, in late November 2015, at Stora Teatern in Gothenburg and Victoriateatern in Malmö. Joined by Swedish sax deity Jonas Kullhammar (who brought his skills to Allas Sak), these were undoubtedly some massive experiences. Live drops us into moments where Dungen’s right at the edge of the cliff, right at the point where they’re getting out of the time machine to bust into John Anthony’s studio right when Affinity is cutting their album for Vertigo, right at the point where you discover the break on a record that snaps into place over some hip hop track you’ve been listening to for years, and you play it over and over. Entirely instrumental (including a footstompin’ cover of Doug Jerebine’s “Ain’t So Hard to Tell” – check with our buds over at Drag City for the full story on that one), Live showcases what Dungen does best: create a vibe where none existed, build a mood out of circumstance, attack the music with a fan’s soul and a master’s scorching virtuosity. It extends moments out of their catalogue that seemed like they were already explored and breathes new life into them, at times graceful, at others rambunctious, and sometimes a little of both. It stirs memories of when those first import copies of Ta det lungt hit the record store, how we listened in awe and watched the customers turn around, that first shock of awareness, that anxiety over trying to take home what appeared to be the last copy on the shelf before someone else with the same idea beat you to it.

In just over a year since their initial inception, Eye Flys have established themselves as a force beyond reckoning. Their debut
full-length ‘Tub of Lard’ is stunningly potency full of piss and
vinegar, scientific in its ability to pulverize everything in it's path.

Due in part to the considerable pedigree of the band’s lineup (including members of Full of Hell, Backslider, Triac), the East
Coast-based quartet chew through steel-barbed riffs and off-kilter rhythms with exponential force.

Their 2019 debut EP ‘Context’ set an early precedent for just how lean and ruthless they can be. On ‘Tub of Lard’, Eye Flys launch that potential into 10 songs of maximum impact that find both raw power and subtlety in their simplicity.

Debut album recorded at Developing Nations with Kevin Bernsten who has also recorded albums for Mutilation Rites, Full of Hell, Noisem and others. Available on lard coloured vinyl. LPs include digital download codes.

Extensive tours in 2020 including appearance at Roadburn Festival. 2019 debut tours were with Daughters and Torche. For fans of Unsane, Cherubs, The Melvins. “A bulldozing dose of hardcore-tinged sludge.” - Brooklyn Vegan.

“A blistering testament to the band members’ tried and tested chops, as well as to their venomous vision.” - Revolver.

In just over a year since their initial inception, Eye Flys have established themselves as a force beyond reckoning. Their debut
full-length ‘Tub of Lard’ is stunningly potency full of piss and
vinegar, scientific in its ability to pulverize everything in it's path.

Due in part to the considerable pedigree of the band’s lineup (including members of Full of Hell, Backslider, Triac), the East
Coast-based quartet chew through steel-barbed riffs and off-kilter rhythms with exponential force.

Their 2019 debut EP ‘Context’ set an early precedent for just how lean and ruthless they can be. On ‘Tub of Lard’, Eye Flys launch that potential into 10 songs of maximum impact that find both raw power and subtlety in their simplicity.

Debut album recorded at Developing Nations with Kevin Bernsten who has also recorded albums for Mutilation Rites, Full of Hell, Noisem and others. Available on lard coloured vinyl. LPs include digital download codes.

Extensive tours in 2020 including appearance at Roadburn Festival. 2019 debut tours were with Daughters and Torche. For fans of Unsane, Cherubs, The Melvins. “A bulldozing dose of hardcore-tinged sludge.” - Brooklyn Vegan.

“A blistering testament to the band members’ tried and tested chops, as well as to their venomous vision.” - Revolver.

Helen Money, composer Alison Chesley, remains one of the
most unique and versatile cellists today, her cello playing
effortlessly moving from black metal to expansive dark
ambient strings. She uses the cello to access and channel
extremes of human emotion, employing extensive
manipulation, as well as plucking and bowing techniques
to summon an astonishing breadth and depth of sound.
 On her new album ‘Atomic’, Chesley pushes even further
with daring minimalist arrangements that stand as her
most intimate, direct and emotionally bare work to date.
The breadth of ideas explored throughout give ‘Atomic’ a
distinctive ebb and flow; an oblique narrative that conjures
distinctive and palpable emotions without being
prescriptive.
 For fans of Emma Ruth Rundle, Big Brave, The Body or
Black to Comm.
 Features Will Thomas (modular synth) and Carol Robbins
(harp) as guests.
 Crystal clear vinyl available. LPs include digital download
cards.
 Collaborators include Jason Roeder (Sleep/Neurosis) and
Rachel Grimes (Rachel’s).
 Alison arranged orchestration for Bob Mould’s most recent
album and has previously toured extensively with Shellac,
Russian Circles, Earth, Bob Mould and MONO.
 “A grim and beautiful mediation... Alison Chesley is
Godzilla on the cello, a virtuoso who crushes all in her
path, then slips deep into oceans of near silence.” -
Chicago Tribune

Helen Money, composer Alison Chesley, remains one of the
most unique and versatile cellists today, her cello playing
effortlessly moving from black metal to expansive dark
ambient strings. She uses the cello to access and channel
extremes of human emotion, employing extensive
manipulation, as well as plucking and bowing techniques
to summon an astonishing breadth and depth of sound.
 On her new album ‘Atomic’, Chesley pushes even further
with daring minimalist arrangements that stand as her
most intimate, direct and emotionally bare work to date.
The breadth of ideas explored throughout give ‘Atomic’ a
distinctive ebb and flow; an oblique narrative that conjures
distinctive and palpable emotions without being
prescriptive.
 For fans of Emma Ruth Rundle, Big Brave, The Body or
Black to Comm.
 Features Will Thomas (modular synth) and Carol Robbins
(harp) as guests.
 Crystal clear vinyl available. LPs include digital download
cards.
 Collaborators include Jason Roeder (Sleep/Neurosis) and
Rachel Grimes (Rachel’s).
 Alison arranged orchestration for Bob Mould’s most recent
album and has previously toured extensively with Shellac,
Russian Circles, Earth, Bob Mould and MONO.
 “A grim and beautiful mediation... Alison Chesley is
Godzilla on the cello, a virtuoso who crushes all in her
path, then slips deep into oceans of near silence.” -
Chicago Tribune

Vancouver-based singer/composer Ian William Craig
returns with a brilliant and powerfully emotive new album.
His first for a long while to be centred around the piano -
and also one of his most pared back - the record was
made through an intense period of personal loss and
environmental catastrophe.
 ‘Red Sun Through Smoke’ was recorded over two
cataclysmic weeks in August 2018 in Kelowna, whilst the
city was encircled by the forest fires which, under a
warming climate, now regularly rage through British
Columbia in summertime. With smoke engulfing the
landscape, it was recorded from start to finish in the living
room of a small house owned by his grandfather, who was
moved into palliative care and tragically died halfway
through the recording, his lungs filled with fluid as a result
of the smoke.
 Forged in trauma and an intense, bewildering slew of
mixed emotions, Ian William Craig has created an album
of incredible beauty, sadness and depth. ‘Red Sun Through
Smoke’ is a profoundly moving album, a standout record in
a prolific body of work that shows no sign of faltering.
 LP pressed on translucent red vinyl.
 For fans of The Caretaker, William Basinski, Anohni, Low,
Sigur Ros, Stars Of The Lid, Panda Bear, Grouper, Mount
Eerie, Julianna Barwick, Akira Rabelais, Belong, Fennesz,
Big Star, Tim Buckley.
 Ian will be touring UK / EU in support of the album,
including a show at Max Richter’s Sound & Visions Festival
in Paris.

After coming to prominence as the frontman of the
Mercury Prize-winning Klaxons, recording with Arctic
Monkeys and crafting his Shock Machine project, James
Righton is now set to release his debut solo album ‘The
Performer’.
 ‘The Performer’ stands in stark contrast to the electrohedonism of Righton’s work with Klaxons. Instead, it spins
through various points from 1970 onwards. It touches on
the suave art-lounge of Roxy Music, the jangly grooves of
R.E.M., the sumptuous psychedelia of latter day Beach
Boys and the songwriting gift of Nick Lowe. In short, it
uses classic elements as the groundwork for something
which feels a natural fit for 2019.
 The album flits between two core themes. Fatherhood has
changed Righton’s life. It’s altered the relationship with his
wife Keira Knightley, which he explores on the 90s-tinged
pop-rock of ‘Start’ and the crescendo that soars through
‘Lessons In Dreamland, Pt2’. But there are simpler
emotions too, with the unrequited love and sweet
harmonies of ‘Edie’, a song he wrote for his daughter when
she was just a few days old.
 ‘The Performer’ was written, performed and produced by
James Righton, with the help of some select collaborators.
James Ford (The Last Shadow Puppets, Simian Mobile
Disco) performed drums throughout and bass on two
tracks; Sean O’Hagan (High Llamas, Microdisney)
contributed string arrangements; saxophone was provided
by Jorja Chalmers (Bryan Ferry) and Josephine Stephenson
(Thom Yorke, Ex:Re) contributed additional piano and
string arrangements.

“‘Hypermagic Mountain’ is Lightning Bolt’s fourth,
most well-oiled album: song-by-song it chugs into
rockier Van Halen, Fucking Champs, or Orthrelm
territory.” - Pitchfork
 ‘Hypermagic Mountain’, Lightning Bolt’s fourth
album has been unavailable for nearly a decade
since its 2005 release.
 Back as a double LP including a full drawing by
Brian Chippendale as the D side etching.
 The package includes a large scale 4-page book
(previous pressings included a CD-size book).
 Recorded at Machines with Magnets and Lightning
Bolt’s home by Dave Auchenbach.
 Lightning Bolt play with abandon that is
unmatched and remarkably undiluted and this
album is just one more example of that raw power
and sound.
 2LP available on hypermagic red coloured with full
colour 4-page booklet.
 “Listening is akin to the scene in The Wizard Of Oz
where a sepia tone gives way to Technicolor; it
opens up new vistas to the sound, while giving the
band an opportunity to exhibit more involved
musicianship. It’s less a blur and more a detailed
map of planned aggression.” - NPR

“‘Hypermagic Mountain’ is Lightning Bolt’s fourth,
most well-oiled album: song-by-song it chugs into
rockier Van Halen, Fucking Champs, or Orthrelm
territory.” - Pitchfork
 ‘Hypermagic Mountain’, Lightning Bolt’s fourth
album has been unavailable for nearly a decade
since its 2005 release.
 Back as a double LP including a full drawing by
Brian Chippendale as the D side etching.
 The package includes a large scale 4-page book
(previous pressings included a CD-size book).
 Recorded at Machines with Magnets and Lightning
Bolt’s home by Dave Auchenbach.
 Lightning Bolt play with abandon that is
unmatched and remarkably undiluted and this
album is just one more example of that raw power
and sound.
 2LP available on hypermagic red coloured with full
colour 4-page booklet.
 “Listening is akin to the scene in The Wizard Of Oz
where a sepia tone gives way to Technicolor; it
opens up new vistas to the sound, while giving the
band an opportunity to exhibit more involved
musicianship. It’s less a blur and more a detailed
map of planned aggression.” - NPR

Max de Wardener returns to Village Green with an
album of detuned acoustic piano pieces, performed
by British jazz pianist Kit Downes (ECM).
 Drawing inspiration from modernist composers
James Tenney, Harry Partch and La Monte Young,
de Wardener’s intentions here were “to try and
bend something established and monumental into
something new.”
 The resulting album is deceptively simple, belying
the project’s myriad technical challenges (pianos
are immensely stubborn when subject to
unorthodox tuning methods).
 Captured over a two-year period, Downes’
enlivening improvisations do justice to de
Wardener’s vision in creating an elegant record
that feels at once familiar, yet otherworldly.
 CD comes in a deluxe 6-panel digipack.
 LP issued on 180g heavyweight vinyl with a
gatefold sleeve and digital download.

What happens when an abrasive rock trio trades guitars for synths, cranks
up the beats and leans into the everyday anxieties of simply being a
functioning human in the 21st Century? The answer is ‘Uneasy Laughter’,
the sensational second Sub Pop release from Los Angeles-based Moaning.
 Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and
drummer Andrew MacKelvie have been friends and co-conspirators amid the
fertile LA DIY scene for more than a decade. They are also immersed in
other creative pursuits - Solomon is a noted illustrator, art director and
animator, while Stevenson and MacKelvie have played or worked behind the
boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On ‘Uneasy
Laughter’, they’ve tackled challenges both personal and universal the only
way they know how: by talking about how they’re feeling and channelling
those emotions directly into their music.
 “We’ve known each other forever and we’re really comfortable trying to
express where we’re at. A lot of bands aren’t so close,” says MacKelvie.
Adds Solomon, who celebrated a year of sobriety during the ‘Uneasy
Laughter’ sessions, “Men are conditioned not to be vulnerable or admit
they’re wrong. But I wanted to talk openly about my feelings and mistakes
I’ve made.”
 Moaning’s 2018’s self-titled Sub Pop debut featured songs mostly written in
practice or brought in already complete by individual band members. It
garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who
observed, “Moaning craft anxious music for an increasingly nervous local
scene.” But ‘Uneasy Laughter’ is a collaborative breakthrough which
significantly brightens Moaning’s once claustrophobic sound, again abetted
by producer/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins).
 Solomon admits ‘Uneasy Laughter’ could have gone in quite another
direction had he not gotten sober and educated himself on such core
subjects as gender and mental health. “I did a lot of reading in the tour van
- authors like bell hooks, Mark Fisher and Alain de Botton, all really inspired
me. I don’t want to be the person who influences young people to go get
high and become cliché tragic artists,” he says. “What I’d rather convey to
people is that they’re not alone in what they think and how they feel. ‘Ego’
specifically and the album overall is about those themes - letting go of your
bullshit so you can help other people and be present.”
 “We want to be part of a community,” he adds. “I wrote online about being
sober for a year, and I had kids from all over writing and asking for advice.
One of them said, ‘For the first time I can remember, I didn’t drink last
night.’ I thought, for once, maybe we did something besides sell a record.
That’s a win. That’s incredibly exciting.”
 Vinyl format includes digital download code.

Lovecore is the new debut album form Brighton quartet Orchards.Born from Brighton’s diverse musical breeding ground, indie quartet Orchards are among the cities brightest rising stars. Comprised of lifelong friends Sam Rushton (guitar) and Dan Fane (bass/vocals), who met drummer Will Lee-Lewis and vocalist Lucy Evers within their first week at university, the band are a resplendent mix of summer melodies and stellar hooks that threaten to be stuck in your head for days. Married with an unbreakable bond that makes the four-piece inseparable, they form a sound that is inherently positive, charming, shimmering and above all: fun. Armed with a luscious catalogue that has seen praise from BBC 6Music, Radio1 and NME — with Huw Stephens championing the band as “'Ones To Watch.

Rustin Man aka Paul Webb releases a new album,
‘Clockdust’ - his second in two years.
 ‘Clockdust’ draws upon an armoury of instruments,
some, like the euphonium, unfamiliar in such
contexts and plenty - the kokoriko, the okónkolo -
with even more unfamiliar names. Each track, too,
indicates Webb’s fondness for the path less
travelled, its twists and turns at first jarring but
soon intuitive. That they’re embellished by a voice
which has seemingly endured many lifetimes
emphasises their mysterious nature. That its
recording was soundtracked by Jacques Brel, Jet
Harris and Kurt Weill no doubt contributed too.
That many songs are inspired by old movies
enhances their ageless atmosphere yet further.
 CD in standard jewel case with 16-page booklet
and inlay.
 LP on heavyweight vinyl with 4-page booklet and
digital download card

Seafret have come full circle. The Northern duo – Jack Sedman and Harry Draper – took on the world, releasing debut album ‘Tell Me It’s Real’ in 2016. It’s a record dominated by their move to London, signing to a major label, and plunging head-first into an industry they could scarcely understand. Now it’s just them. Seizing their independence, the pair have returned to their hometown of Bridlington to work on something fresh, something new, something true to themselves. “I strongly believe that we’ve needed everything that’s happened to us,” insists Jack. “We needed to move down there, we needed to move away from home, be independent, and survive in London… We needed all that. We’re back here now… we’re like homing pigeons!”

A Beautiful Place To Drown, the eleventh album from Canadian post-hardcore quintet Silverstein which features appearances from Aaron Gillespie of Underoath, Pierre Bouvier of Simple Plan, Intervals, and Princess Nokia. The release follows their 2019 single Burn It Down which featured long time collaborator Caleb Shomo Beartooth and earned praise from Alt Press ["Blistering"], Exclaim!, The PRP, and Blabbermouth. 20 years into their career the band show no signs of slowing down, with sold-out headline shows worldwide and huge festival appearances scheduled throughout 2020. Released via Australia's leading heavy music label UNFD.

Soraia epitomizes raw power, unrelenting energy, chaos, and freedom. Above all this, Soraia's ferociously energetic, intoxicating live shows are their trademark calling card, showcasing a will to defy and survive. Singer and frontwoman, ZouZou Mansour has been referred to as "a true mix of Iggy Pop and Joan Jett" onstage. They have relentlessly toured the US, playing the dingiest corner dive bar, to the most massive amphitheaters, and were named one of 2019's "Hardest Working Bands" by Audiofemme. Throughout their career, they have opened for Joan Jett, Bon Jovi, Little Steven & The Disciples of Soul, and more.

Their upcoming album, Dig Your Roots, will be released on March 13th, 2019 digitally, on CD, and on red, black, and purple swirled vinyl. It is their sophomore LP on Wicked Cool Records, Stevie Van Zandt's (E Street Band, The Sopranos, Little Steven & The Disciples of Soul) label. The band co-wrote two of the tracks with Van Zandt (Still I Rise and Darkness Is My Only Candle), combining both of their styles to create a unique and energetic collaboration. David Fricke of Rolling Stone Magazine not only debuted the first single, 'Dangerous,' on his Writer's Block show on SiriusXM The Spectrum, but also stated of the album, "All rise for the fire and euphoria of Soraia: Dig Your Roots is your road to garage-rock salvation." Tracks from the album have been picked up by Fricke, WXPN, Keith Roth, Little Steven's Underground Garage (syndicated show and SiriusXM ch 21), Ollie Winiberg of BBC Music, and more. The album epitomizes the survival story and raw power that define Soraia as a band.

‘Alien Blood’ is the result of The Pop Group’s meticulous process
of revisiting the original 2” tapes of their studio sessions and
recordings, unearthing never-before-heard material, including
the studio recording of ‘Kiss The Book’, gloves off version of
‘We Are Time (Ricochet)’ and ‘Words Disobey Me (Dennis The
Menace Mix)’ whilst exposing the raw skeletons of iconic tracks
such as the original velocity of ‘Thief Of Fire (Bass Addict)’.
‘Alien Blood’ reveals the life of ‘Y’ before everything was
finalized, exposing revelatory dimensions within these iconic
works.
Single vinyl includes large format poster.
The ‘Y Live’ album is an essential addendum to the original
release, one that captures all the fierce urgency of The Pop
Group’s live performances at the time. Comprised of ‘Y’ era
recordings captured at a variety of locations including New
York, Manchester and Brussels - the latter on a bill with William
Burroughs and Joy Division - ‘Y Live’ exemplifies what had
proved so thrilling about The Pop Group. A snapshot of a time
when the group were sharing stages with future acolytes
including Cabaret Voltaire, Linton Kwesi Johnson and Public
Image Ltd, Mark Stewart describes the recordings as attempts
to “paint the impossible.”
Single vinyl edition with original tour poster. Mastered by Kevin
Metcalf at Soundmasters.
Mark Stewart from the band embarked on a solo career
releasing his pioneering album ‘Learning To Live With
Cowardice’ in 1983. Gareth Sager and Bruce Smith went on to
form Rip Rig & Panic alongside Neneh Cherry. The Pop Group
reformed in 2010 to tour and have since released two new
studio albums. The band will be touring in 2020.

‘Alien Blood’ is the result of The Pop Group’s meticulous process
of revisiting the original 2” tapes of their studio sessions and
recordings, unearthing never-before-heard material, including
the studio recording of ‘Kiss The Book’, gloves off version of
‘We Are Time (Ricochet)’ and ‘Words Disobey Me (Dennis The
Menace Mix)’ whilst exposing the raw skeletons of iconic tracks
such as the original velocity of ‘Thief Of Fire (Bass Addict)’.
‘Alien Blood’ reveals the life of ‘Y’ before everything was
finalized, exposing revelatory dimensions within these iconic
works.
Single vinyl includes large format poster.
The ‘Y Live’ album is an essential addendum to the original
release, one that captures all the fierce urgency of The Pop
Group’s live performances at the time. Comprised of ‘Y’ era
recordings captured at a variety of locations including New
York, Manchester and Brussels - the latter on a bill with William
Burroughs and Joy Division - ‘Y Live’ exemplifies what had
proved so thrilling about The Pop Group. A snapshot of a time
when the group were sharing stages with future acolytes
including Cabaret Voltaire, Linton Kwesi Johnson and Public
Image Ltd, Mark Stewart describes the recordings as attempts
to “paint the impossible.”
Single vinyl edition with original tour poster. Mastered by Kevin
Metcalf at Soundmasters.
Mark Stewart from the band embarked on a solo career
releasing his pioneering album ‘Learning To Live With
Cowardice’ in 1983. Gareth Sager and Bruce Smith went on to
form Rip Rig & Panic alongside Neneh Cherry. The Pop Group
reformed in 2010 to tour and have since released two new
studio albums. The band will be touring in 2020.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

Wheatus is an American rock band from New York who is best known for the 2000 single “Teenage Dirtbag”, featured in the movie Loser, the HBO miniseries Generation Kill and as an acoustic opening for the anti-bully film Bully. Wheatus was formed by Brendan B. Brown in 1995 on the lower east side of New York City. Brown began by writing a few songs and subsequently enlisted the help of his brother Peter on drums, Rich Liegey on bass and backing vocals and Philip Jimenez on various percussion instruments, keyboards, harmonica, providing samples and special effects. The band derives its name from the nickname “wedus”, given to the Brown brothers by their father when they were children. The self-titled debut album by the band was recorded in the basement of vocalist and guitarist Brown’s mother’s house. The debut single “Teenage Dirtbag” was released in July 2000 as a single and peaked at number 2 in the UK and number 7 in the U.S. charts. The single was later certified platinum in the UK. The Erasure cover “A Little Respect” was released as a single in 2001 and charted at number 3 in the UK. “Wannabe Gangstar”/”Leroy”, a double-A sided single, was released in January 2002 and peaked at number 22 in the UK.

Wheatus is available as a 20th anniversary edition of 1000 numbered copies on turquoise vinyl and 1000 numbered copies on yellow vinyl. The package includes a 4-page booklet.

Soul Deep is an essential compilation of The Box Tops’ best tracks. Hailing from 1960’s Memphis, The Box Tops are best known for the hits “The Letter”, “Cry Like a Baby” and “Soul Deep”, and are considered a major blue-eyed Soul group of the period. They performed a mixture of current Soul music songs by artists such as James & Bobby Purify and Clifford Curry, Pop tunes such as “A Whiter Shade of Pale” by Procol Harum, and songs written by their producers, Dan Penn, Spooner Oldham, and Chips Moman. Their records are prime examples of the styles made popular by Moman and Penn at American Sound Studio in Memphis. Many of their lesser known Top 40 hits, including “Neon Rainbow”, “I Met Her in Church”, and “Sweet Cream Ladies, Forward March”, are considered minor classics.

Soul Deep is available as a limited edition of 1000 individually numbered copies on translucent yellow vinyl. The package includes an insert with liner notes.

"I read a bit of Restoration poetry and listen to Leadbelly, and it comes out like that" (Bid, The Monochrome Set)

The casual prose of pop history is full of backhanded compliments, and The Monochrome Set have received a few, ranging from "should have been massive" to "influential", numbering the likes of Morrissey and Marr, Blur's Graham Coxon and Franz Ferdinand's Alex Kapranos among their celebrity admirers.

Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam
& The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies.

"I read a bit of Restoration poetry and listen to Leadbelly, and it comes out like that" (Bid, The Monochrome Set)

The casual prose of pop history is full of backhanded compliments, and The Monochrome Set have received a few, ranging from "should have been massive" to "influential", numbering the likes of Morrissey and Marr, Blur's Graham Coxon and Franz Ferdinand's Alex Kapranos among their celebrity admirers.

Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam
& The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies.

Mannequin Records is delighted to present their fourth full length of Polices des moeurs, the Canadian minimal synth duo formed by Francis Dugas and Manuelle Gauthier. With PÉRIL, Police des moeurs expands its sound and ventures into mysterious, bewitching and enigmatic landscapes. The foundation is still synthetic, minimal and punchy, relying on mechanical rhythm, powerful bass and catchy melodies, but it's now combined with more elaborate arrangements, punctuated by delicate textures and depthful laments with uncertain but sincere meanings.

Formed in 2010 in Montreal, Police des moeurs got noticed right from the start with its infectious and direct synth pop. The band has released several recordings, including Péril, their fourth full lenght album on Berlin's Mannequin Records. The Canadian group has performed in Mexico, the United States, as well as in ten European countries, and has share the stage with The Damned, ADULT., TR / ST, Xeno & Oaklander, Automelodi, Essaie Pas, Xarah Dion, Duchess Says, to name a few.

Indie heroes Embrace have announced their first three albums will be reissued on vinyl for the first time since their original release. The titles—The Good Will Out, Drawn From Memory and If You’ve Never Been—are available through UMC on March 6th for the UK. The vinyl format of these have been long out-of-print since their original release, making them in-demand for collectors and fans alike.

Following in the footsteps of Oasis and the Verve, Embrace became a pop sensation in post-Brit-pop Britain, breaking through in the late ‘90s. The group—hailing from Huddersfield, West Yorkshire, England—had a knack for big, anthemic hooks, which they transform into sweeping, sprawling, lugubrious rockers. This synthesis earned them a strong fanbase with their first singles in 1997, and their debut album, The Good Will Out.

Originally released on Virgin's Hut subsidiary in 1998, The Good Will Out became one of the fastest selling debut albums by a British artist, going on to sell over 500,000 copies domestically. Certified gold on the first day of release, the album hit the number one spot and spent 24 weeks in the Top 100, spawning three Top 10 singles, “All You Good Good People” “Come Back To What You Know” and “My Weakness Is None Of Your Business” together with two further Top 40 hits, “One Big Family” and “Fireworks.” Critically acclaimed across the board, NME hailed the album as the “one of the great debut albums of the past decade”.

Two years later, the band followed up their spectacular debut with their second album, Drawn From Memory, which hit Number eight in the UK Charts and garnered praise from music tastemakers. The album spawned four Top 40 singles, “Hooligan,” “You’re Not Alone,” “Save Me” and “I Wouldn’t Wanna Happen to You,” spent 20 weeks in the Top 100 and the band went on to tour the country, supported by Coldplay.

Embrace returned quickly with third album, If You’ve Never Been in 2001, which secured the band their third Top 10 album. Featuring the UK Top 40 hit singles “Wonder” and “Make It Last,” the album showed a dramatic shift in direction from their earlier rockier sound, displaying their versatility in a thoughtful, tender approach to the body of work.

Pressed on heavyweight 180gm vinyl, include DL codes.

Indie heroes Embrace have announced their first three albums will be reissued on vinyl for the first time since their original release. The titles—The Good Will Out, Drawn From Memory and If You’ve Never Been—are available through UMC on March 6th for the UK. The vinyl format of these have been long out-of-print since their original release, making them in-demand for collectors and fans alike.

Following in the footsteps of Oasis and the Verve, Embrace became a pop sensation in post-Brit-pop Britain, breaking through in the late ‘90s. The group—hailing from Huddersfield, West Yorkshire, England—had a knack for big, anthemic hooks, which they transform into sweeping, sprawling, lugubrious rockers. This synthesis earned them a strong fanbase with their first singles in 1997, and their debut album, The Good Will Out.

Originally released on Virgin's Hut subsidiary in 1998, The Good Will Out became one of the fastest selling debut albums by a British artist, going on to sell over 500,000 copies domestically. Certified gold on the first day of release, the album hit the number one spot and spent 24 weeks in the Top 100, spawning three Top 10 singles, “All You Good Good People” “Come Back To What You Know” and “My Weakness Is None Of Your Business” together with two further Top 40 hits, “One Big Family” and “Fireworks.” Critically acclaimed across the board, NME hailed the album as the “one of the great debut albums of the past decade”.

Two years later, the band followed up their spectacular debut with their second album, Drawn From Memory, which hit Number eight in the UK Charts and garnered praise from music tastemakers. The album spawned four Top 40 singles, “Hooligan,” “You’re Not Alone,” “Save Me” and “I Wouldn’t Wanna Happen to You,” spent 20 weeks in the Top 100 and the band went on to tour the country, supported by Coldplay.

Embrace returned quickly with third album, If You’ve Never Been in 2001, which secured the band their third Top 10 album. Featuring the UK Top 40 hit singles “Wonder” and “Make It Last,” the album showed a dramatic shift in direction from their earlier rockier sound, displaying their versatility in a thoughtful, tender approach to the body of work.

Pressed on heavyweight 180gm vinyl, include DL codes.