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If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

For Wilkes-Barre’s One Step Closer - the concept of home is complicated. “I’ve never felt so distant in my life,” vocalist Ryan Savitski screams on the lead single “Pringle Street,” a place in his hometown that binds the album’s lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover This Place You Know, the band offers a modern comingof-age story about growing up and grasping both the known and the unknown.

One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP ‘From Me To You’ countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band’s now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album.

This Place You Know grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, emphatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener “I Feel So,” the stakes are made clear by the anchoring lyric ‘this place you know, sometimes it hides the truth and lets people go” - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

- Debut full-length & first RFC release for One Step Closer
- Previous touring & show history with Have Heart, Turnstile, Knucklepuck, Fiddlehead
- US & international touring to follow album release in fall
- Music videos for “Pringle Street,” “Chrysanthemum” & “Time Spent, Too Long”

There’s a fundamental truth that Los Angeles musician and songwriter Lexi Vega embraces on Mini Trees’ debut album Always In Motion - time keeps moving forward, for better or worse. The consequences of this perpetual motion spark this latest collection of relatable indie-pop songs that acknowledge our collective anxiety about life’s improbability

Run Logan Run's third full length album "For A Brief Moment We Could Smell The Flowers'' finds the acclaimed Bristolian duo pushing their music forwards in a dramatic new direction in the company of producer Riaan Vosloo (Nostalgia 77).

Runnner's Always Repeating yearns for a sense of place. The project of the now LA-based songwriter/multi-instrumentalist Noah Weinman, Runnner's poignant reflections on the isolation and anxiety caused by a sense of rootlessness radiate with wit and charm. Self-produced and recorded wherever he called home at the time, Always Repeating documents this cycle of looking back and moving forward, of alienation changing to reconciliation. For Weinman, Runnner is primarily a solo endeavor with an ever - expanding musical community of musicians collaborating on his albums and shows, which at times have been known to feature up to a 7-piece live band (he also has a burgeoning career as a producer, notably working on Skullcrusher's critically-acclaimed debut EP for Secretly Canadian). Weinman completed Always Repeating last fall in Western Massachusetts and Woodstock using a mobile studio set-up. He played the majority of the instruments himself, including guitar, bass, trumpet, banjo, piano and synth. The goal was to create the perfect balance of intimate and melancholy songwriting through the lens of hi-fi/lo-fi dynamics, inspired by his favorite artists like Bon Iver, the Microphones, and Julien Baker. The 10-track collection is composed of five re-recorded versions of songs that appeared on Runnner's 2017 debut, Awash, and 2020's One of One EP. Although the songs were written over the course of three years, all find Weinman grappling with the same thing: feelings of uncertainty about his life. Always Repeating ultimately tells the start of Weinman's journey as Runnner, and his cyclical feelings of being connected and then disconnected from the world over and over again.

Runnner’s Always Repeating yearns for a sense of place. The project of the now LA-based songwriter/multi-instrumentalist Noah Weinman, Runnner’s poignant reflections on the isolation and anxiety caused by a sense of rootlessness radiate with wit and charm. Self-produced and recorded wherever he called home at the time, Always Repeating documents this cycle of looking back and moving forward, of alienation changing to reconciliation.

For Weinman, Runnner is primarily a solo endeavor with an ever-expanding musical community of musicians collaborating on his albums and shows, which at times have been known to feature up to a 7-piece live band (he also has a burgeoning career as a

producer, notably working on Skullcrusher’s critically-acclaimed debut EP for Secretly Canadian). Weinman completed Always Repeating last fall in Western Massachusetts and Woodstock using a mobile studio set-up. He played the majority of the instruments himself, including guitar, bass, trumpet, banjo, piano and synth. The goal was to create the perfect balance of intimate and melancholy songwriting through the lens of hi-fi/lo-fi dynamics, inspired by his favorite artists like Bon Iver, the Microphones, and Julien Baker.

The 10-track collection is composed of five re-recorded versions of songs that appeared on Runnner’s 2017 debut, Awash, and 2020’s One of One EP. Although the songs were written over the course of three years, all find Weinman grappling with the same thing: feelings of uncertainty about his life. Always Repeating ultimately tells the start of Weinman’s journey as Runnner, and his cyclical feelings of being connected and then disconnected from the world over and over again.

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.

Latin-infused Hip-Hop project by The Breed and Richard Holzmann feat. FLKS, Cy Leo, Kid Taro, Phlocalyst and Franz. Cover photo by the legendary Estevan Oriol (Netflix / LA Originals)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.

Shall Not Fade champions its hometown of Bristol for this next release on the Time Is Now White Label series; Daffy has built a name for himself on the local scene putting out forward-thinking garage on labels to watch like Dim Sum Records and Equal People. This will be his first full vinyl EP and it's not one to miss.

Run Around EP builds up the tension throughout; starting off with "Put Your Feet Up", a ghostly atmospheric piece with a sparse beat, sprinkling of ear candy and crescendo of headsy melodies. The title track oozes a growling bassline beneath staccato vocal snatches - it's a deconstructed style of garage that maintains tension while adding a dreamlike quality. More tension encompasses "Nerves" alongside teases of low end wobbles and harsh breaks that coalesce into a punishing jungle track.

"Lost Again" brings in the B-side with this same energy, an explosion of rolling breaks forming the backbone of this rouch and ready Metalheadz style crowd pleaser, calling out to the rave. "Mishap" serves up ragga vocals, impenetrable sub bass and pouncing two-step ripe for a reload, all rounded off with "Wasp's Nest" - a raucous, no holds barred climax to the EP.

Old 97s are an American alternative country rock band from Dallas, TX, fronted by lead vocalist and primary songwriter, Rhett Miller. Formed in 1993, they have since released twelve studio albums, two full EPs, and have one live album. Starting out as a popular bar band before being spotted by Bloodshed Records, they are pioneers of the alt-country movement during the mid-to-late 90s. Their Bloodshot debut LP brought them to the attention of Elektra Records, who hoped that alt-country could be a new post-grunge trend.

In 2005, Blender magazine ranked the band’s then most successful single, 1999’s “Murder (Or a Heart Attack),” as the 176th greatest song “since you were born.” Their music has been featured in a number of film and TV series, including The Break Up, Clay Pigeons, Slither, Ned’s Declassified School Survival Guide, Ed, Scrubs, Veronica Mars and Scorpion. Old 97s recorded three albums for Elektra, before moving on to New West and ATO Records subsequently.

Their fourth studio album, Fight Songs was recorded at Kingsway in New Orleans and released on April 27, 1999. The album is more-slick and pop-oriented than their previous efforts. For the release of this deluxe worldwide debut on vinyl, ROG had six-time Grammy® award-winning producer and engineer, Vance Powell, remix the 12-track album as the band originally intended; stripping off the slick 1990s-style production and sheen that helped the album get on the radio in 1999. With the assistance from the band we are also able to offer previously unreleased 1998 pre-production demos on a 3rd LP that helps to round out the complete story of this classic 1990’s alternative country record.

The Monkees, one of the most recognizable names in the annals of pop music history, are an American rock and pop band originally active between 1966 and 1971, with reunion albums and tours in the decades that followed. The original line up was Micky Dolenz, Michael Nesmith, Peter Tork and Davy Jones. The group was conceived in 1965 by TV producers Bob Rafelson and Bert Schneider specifically for the sitcom series The Monkees, which aired from 1966 to 1968. The music was originally supervised by record producer Don Kirschner, backed by the songwriting duo of Tommy Boyce and Bobby Hart.

The Monkees self-titled debut and second albums were meant to be a soundtrack to the first season of the TV show, to cash in on the audience.Their first single, “Last Train To Clarksville” b/w “Take A Giant Step,” was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the TV show on September 12, 1966, NBC and Columbia had a major hit. The first long-playing album, The Monkees, was released a month later; it spent 13 weeks at #1 and stayed on the Billboard charts for 78 weeks.

The Monkees have sold more than 75 million records worldwide making them one of the biggest selling groups of all time with international hits, including “Last Train to Clarksville,” “Pleasant Valley Sunday,” “Daydream Believer,” and “I’m A Believer.” ROG is reissuing their iconic debut album as a deluxe 2LP set with bonus tracks (several of which are unreleased mixes) and are having lacquers cut from the analog tapes for the first time since 1966—creating THE DEFINITIVE version of this album since original release!















[n] c3. This Just Doesn’t Seem to Be My Day (TV Version) [Mono]

[p] c5. I Wanna Be Free (Fast Version) [Mono TV Mix]
[q] c6. You Just May Be The One [Mono TV Version]






[x] d6. (I Prithee) Do Not Ask For Love [2020 Remix]

Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.

Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”

Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien

Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.

Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”

Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien

Basil Kirchin, a forgotten genius of post-war British music, was an influential jazz drummer, creative free-spirit and pioneer of Musique Concrète. Kirchin wrote a lot of albums, Mind on the run is one of the most representative Library record he wrote with fellow John Coleman. A milestone in british avantgarde.

Wicca Phase Springs Eternal is the creative persona of Scranton, PA singer, songwriter, producer, and multi-instrumentalist Adam McIlwee. Since 2010, he has simultaneously established himself as a singular voice, adeptly combining his natural songwriting instincts with the digital culture enveloping his world. Through an extensive catalog of collaborations, singles, EPs and 2016’s Secret Boy LP, McIlwee has become a celebrated pioneer in this vital new direction of underground music. Along the way, he assembled

what would become his 2019 Run For Cover Records debut, Suffer On, with the sonic bedrock evolving yet again as he re-embraces an initial vision.

Suffer On is an exploration of familiar forms through the lens of something new and extraordinary. It is the first Wicca Phase record fully written by McIlwee, utilizing guitars and keyboards to create each song’s core and building upwards from there. Themes of longing, entrapment and sacrifice permeate the album - the notion of wanting more and not getting it. Production and lyrics are both intentionally sparse and bleak, reinforcing such feelings and allowing room for the weighty moods to fill the sonic void.

“It’s about making a deal with the devil,” he says. “It’s saying I can pursue this artistic thing as a career, but the consequence is I’m going to put myself out there in an emotional state for everybody to consume.” But it was never really a choice which path to follow - like all great songwriters, McIlwee is driven by the innate urge to express himself through song. And in the end, Suffer On emanates its own magic stemming from its creator.

Run For Cover & Wicca Phase Springs Eternal have partnerted to celebrate the anniversary of this release with a Deluxe Collectors Edition double album of Suffer On. The completely redesigned new version features a companion disc of each song performed acoustically, a new gatefold jacket, updated poster and a photo zine with over 40 photos and Suffer on Lyrics from Adam Mcilwee.

Citizen have always eluded definition. The Toledo, Ohio-based four-piece have been making dynamic, wide-ranging guitar music for over ten years, challenging expectations with each new album and refusing to fit neatly in a box. On their fourth full-length, Life In Your Glass World, Citizen have crafted their most singular work to date completely on their own terms—proving that only the band themselves can define their identity.

This definition meant taking the entire process home to Toledo, Ohio – the Glass City – and creating everything in-house. Recorded in vocalist Mat Kerekes’ home studio in his garage, Citizen’s need to continue moving forward creatively went hand in hand with their desire to be fully in control of their creative destiny. The new process afforded the band time to focus on each song’s individual mood, making their sig-nature blend of aggression and melody all the more pronounced, and even capturing appealing imperfections. The result is an album that represents the members’ vision in its purest form, something that feels distinctly Citizen while also marking the start of a fresh chapter.

One of the most immediately striking elements of the direction on Life In Your Glass World is the band’s attention to rhythm. Many of the songs feature undeniably danceable beats and sharp, groove-laden guitar lines, which give both the barnburners and the brooding atmospheric tracks a pulsating heart. The band’s desire to assert themselves is palpable both in the music and Kerekes’ lyrics, mirroring not only their creative frustrations but also a long year of personal upheavals. It’s fitting for Life In Your Glass World, a record that proves Citizen’s true identity is rooted in the raw energy of constant evolution.

At the Moonbase, the fourth full-length album from Slaughter Beach, Dog, is a return to form for Philadelphia bandleader Jake Ewald. Written and recorded alone at home and at The Metal Shop, Ewald’s East Kensington recording studio, the album tracks an exercise in solitary production not unlike Slaughter Beach, Dog’s 2016 debut Welcome or 2017’s Motorcycle.JPG. On the heels of 2019’s Safe and Also No Fear, Ewald’s latest offering brings expanded arrangements and sharpened storytelling as he taps into salad days over slacker rock (“Do You Understand”), the dark grooves of seedy city life (“Song for Oscars”), and even a barroom-piano-driven “escapade through the great American bedroom” (“A Modern Lay”). At the Moonbase arrives March 26th on Lame-O Records.

At the Moonbase, the fourth full-length album from Slaughter Beach, Dog, is a return to form for Philadelphia bandleader Jake Ewald. Written and recorded alone at home and at The Metal Shop, Ewald’s East Kensington recording studio, the album tracks an exercise in solitary production not unlike Slaughter Beach, Dog’s 2016 debut Welcome or 2017’s Motorcycle.JPG. On the heels of 2019’s Safe and Also No Fear, Ewald’s latest offering brings expanded arrangements and sharpened storytelling as he taps into salad days over slacker rock (“Do You Understand”), the dark grooves of seedy city life (“Song for Oscars”), and even a barroom-piano-driven “escapade through the great American bedroom” (“A Modern Lay”). At the Moonbase arrives March 26th on Lame-O Records.

Two years after their first record came out, the crew operating legendary dance nights in Nantes are back on top of the new release pile. Two original tracks by Kanot and two remixes. Overall, their stylistic balance signature is maintained, although the gravity center is a bit more leftfield and poetic, a bit less dance-obvious. But that’s only in comparison to other material: any of the four pieces here can take a dance floor apart, played at the right time.

Hit & Run has a massive “star grabbing” feel, the synth and guitar surges sounding like as many jumps above the stratosphere, and the vocalizing choirs on top making it a definitive cosmic jam.

Turbulens is more earthy than spacy: drum breaks and big ass basslines bring out an irresistible leg shaking feel, the melodic guitars on top balance the vibe into that delicious moment when Caribbean sunsets turn the day into a warm a groovy night, certainly a party starter. The Pilotwings Remix is to the image of their added touch: trancy on edges but very far from easy or obvious. Constantly jumping above and diving under the line, it’s playing greatly with dancers’ feet, and eventually their minds.

Houseman Vidock delivers the most danceable material on this record. His strong experience as a DJ for parties focused on having people dancing freely for a long time is clearly audible. This slo-mo belter doesn’t need much advertisement, it just needs to be played to any dancefloor, be it at midnight or 8 am.

For Another Michael, it all boils down to trust. In mid-2017, the critically acclaimed indie three-piece packed their bags and collectively relocated from Albany, NY to a shared house in West Philadelphia. This move signaled not only the start of a new chapter for the trio, but also a deepening of the bonds that would come to define their captivating debut LP, `New Music and Big Pop.' "It's hard for a group of people to get closer than living together," says bassist and producer Nick Sebastiano. "The stronger our connection grew, the more it shaped the music we found ourselves making." It should come as little surprise, then, that `New Music and Big Pop' is Another Michael's most collaborative work yet. Recorded in a small A-frame house-turned-makeshift studio outside Ferndale, NY, the record finds the trio pushing their sound in a dreamier, more folk-influenced direction, building songs around vulnerable, intimate performances using an ethereal palette of breezy guitars, subtle keyboards, and layered harmonies. As on the band's early EPs, singer and songwriter Michael Doherty's mesmerizing voice is front and center here, calling to mind Robin Pecknold or Ben Bridwell in its reedy, crystalline timbre, but it feels more at home than ever before amidst the album's lush, Technicolor landscape, which the band partnered with producer and fellow housemate Scoops Dardaris to create. The result is a masterfully understated record that belies its status as a full-length debut, a thoughtful, poetic, collection all about growth and change, hope and faith, endings and beginnings, delivered by a band that's only just begun to scratch the surface of their story.

Over the course of their remarkable career, Barenaked Ladies have sold over 15 million albums, written multiple top 20 hits (including radio staples “One Week,” “Pinch Me,” “If I Had $1,000,000”), garnered 2 GRAMMY® nominations, won 8 JUNO Awards, had Ben & Jerry’s name an ice cream after them (“If I Had 1,000,000 Flavours”), participated in the first-ever “space-to-earth musical collaboration” with astronaut Chris Hadfield, and garnered an international fan base whose members number in the millions. In 2018, the band were inducted into the Canadian Music Hall of Fame and Toronto Mayor John Tory declared October 1st “Barenaked Ladies Day.”

For the 20th anniversary of their 6th Reprise studio album, Maroon, Run Out Groove is finally issuing the album on vinyl for the first time as a 2LP set with bonus tracks. The album is limited to 3000 copies and features a previously unreleased demo version of “Falling For The First Time.”
The band are currently in the studio working on their 16th album. BNL will return to the US in Summer 2021 with their ‘Last Summer on Earth Tour’ featuring Gin Blossoms and Toad the Wet Sprocket. They will also tour the UK in Autumn 2021.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Philadelphia’s Another Michael present two new songs arriving this fall on Run For Cover Records. Leadoff track ‘New Music’ builds from a solitary guitar strum into a thoughtful arrangement com-plete with vocalizing in the vein of Bon Iver. B-side track “Boring For The Times” recalls the saccharine indie-pop bliss of artists like Andy Shauf and Whit-ney.

Philly emo band Marietta's final release. A compilation of all of their tracks from EP's, Splits as well as 5 "new" 2012 demos all on one comfy 12" record. Limited edition one time pressing, never to be pressed again.

The band that modernised Zimbabwean music, and by doing so revolutionised the music industry in their country. Available for the first time on vinyl (180 gramms) with gatefold cover, and now all tracks fully remastered !

In 1972, the country of Rhodesia – as Zimbabwe was then known – was in the middle of a long-simmering struggle for independence from British colonial rule.
In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them).
From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music – later known as Chimurenga, from the Shona word for ‘struggle’ – was born.

And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band. The band came into being when a young trumpet player named Daram Karanga offered to assemble a group to entertain the workers at a copper mine in the town of Mhangura.

The original line-up – which included legendary singer Thomas Mapfumo, who would bring the sounds of Chimurenga to the world in the early 1980s with his band the Blacks Unlimited, and Joshua Hlomayi, one of the pioneers of mbira- style guitar – started out playing the Rumba and Afro-Rock styles popular in the capital. Although this was a hit with the white owners of the mine, the workers greeted it with indifference. But when they started adding electric arrangements of traditional Shona music to their repertoire, the audience went wild.

With the addition of “Zim” sounds to their arsenal, the HCR Band became unstoppable. Their reputation spread quickly and, in 1974, they were invited to the capital to compete in a national music contest organised by the South-African Teal label. Not only did they win the competition, but they also attracted the attention of famed producer Crispen Matema, who quickly organised their first recording sessions.
On their first day at Jameson House studios, they recorded half a dozen songs, including “Ngoma Yarira” and “Murembo”, two singles that would alter the course of Zimbabwean popular music.
During the next five years, the band would relocate from their small mining town to the capital city, go through numerous line-up changes and pay a few more visits to the recording studio, without ever losing the raucous urgency that had transformed them from popular entertainers into titans of Zimbabwean culture.

Erik Sumo is one of the most established Hungarian music producers of the last 20 years.
His various acts gained national and international, underground and mainstream success, he scored movies - think of the now cult 'Liza, The Fox Fairy' soundtrack on one of our early 7"s.
His latest album 'Mount Fuji' came out in November 2019, it contains 'Run Into The Wild', an odd yet catchy leftfield floor-filler with an unmistakable mood built of glamorous disco vibes and sinister imaginings from the woods around Fujisan.

On this EP you can hear the previously unreleased disco dub version of the song and 3 remixes taking the original into completely different directions.
Mytron & Ofofo of Multiculti fame chose to go the tribal way by adding some extra percussion and reconstructing the chorus making the track even more dance floor friendly than it was originally.
Oakland based producer E. Live turned the tune into a contemporary boogie burner, while Budabeats staple M.W.D.'s version has an atmosphere that is impossible to describe.

Limited to 400 copies worldwide.

2017 release available again soon, first time through us, last copies. After numerous productions with Xatar, Haftbefehl, Plusmacher, Schwesta Ewa and many more, it was time for the solo debut of The Breed last year. The record entitled The Beauty & The Breed brought Westcoast Vibes into the German beat scene and provided the perfect soundtrack for the summer. Now the new album Sexbox follows up on this. The Breed brings the vibe for relaxed BBQ parties and sunny rides in a convertible. The inspiration for this continues to come from G-Funk and also the classic AON sound shines through again and again, but always stays up to date. The instrumentals are even more mature than on the predecessor and Breedy spins his movie logically further without repeating himself. But instead even more R'n'B influence, even more sex. No classic sample-flip-drum-ready loops, but rather songs that are repeatedly produced out of the box, which through the prominent use of talkbox, live instruments and vocal chops become more than just pure instrumentals. The Breed mixes all these ingredients in a well-considered and dosed way for the Sexbox Cocktail.
The powerful and bass-heavy produced beats make heads nod and spread a real feelgood vibe everywhere.
Matching the artwork Sexbox is released as pink coloured vinyl including a A2 poster for your living room and a mp3 download coupon.

Take two monster tracks and apply the ‘Heavy Disco’ ethos to them. Then get on the dance floor and let the music take control. Remember – Heavy Makes You Happy.

We present to you our ninth release on 7” format, a collaboration between Ojah and Jamaican singer Ras Tavaris.

The A side contains the track “Long Run”, a great modern roots vocal performance by Ras Tavaris over a steppers riddim paired with the delivery of important lyrics for these times of fast changes and short-term views.

On the B side we find a dub version as usual, in this case an instrumental dub,
mixed live in analog by Ojah at his studio in London.

Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.

Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Vocals by Ras Tavaris
Backing vocals by Jah Kirk
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2019.
Graphic design by Victor Castro.

After inaugurating the label with a tape in 2015, our local friend Richard Brown (AKA Brown Irvin) returns to Motion Ward with an oblique two-track 12" entitled "Run Me That Soul". "Locution" flexes a wobbly equilibrium of dubbed dancefloor energy and amorphous acid while "Overcast" coats the B Side in a smeared gradient of ambient wash and shape-shifting stasis. A persuasive pair of parallel worlds for winding up and winding down.

3 new tracks by eccentric Japanese artist boys be kko. A1 'Oreinspotting' is a floating track with a big bass line that keeps going - well produced as always. 'got type B' is a track with a big intro and b1 'Home Run Bat', the title track, shines the way it's arranged. All around, a great EP with a 100% signature sound from Tokyo, Japan.

Run The Length Of Your Wildness is a weekly dance party held every Monday night at Underground SF in San Francisco, which initially launched on August 24th, 2015 in a small rave cave known as The Basement — formerly and infamously known as 222 Hyde — in San Francisco's Tenderloin neighborhood. Friends and 100% Silk labelmates Cherushii (Chelsea Faith) and Roche (Ben Winans) started the night as an opportunity to DJ more often, honing their skills in the process. But thanks to the intimate setting, The Basement's supportive owner and staff, and the wonderful crowd who attended on a regular basis, Run The Length Of Your Wildness became so much more than that: a community of music-obsessed weirdos, nerds, scene fixtures, first-time ravers, and eccentrics, leavened by the occasional random partygoer passing by, taking a chance, and finding themselves hooked on their new Monday night mainstay.

We book primarily local DJs and live acts, and make an effort to book artists and DJs who have never performed out before. We encourage experimentation, and we're proud to say Run The Length Of Your Wildness has become a place for electronic musicians and DJs to showcase their expressive freedom and GO WILD!

On December 2, 2016, Cherushii, Nackt (Johnny Igaz) and several other beautiful souls were lost in the Oakland Ghost Ship warehouse fire. The loss is beyond devastating — we miss our friends dearly. The San Francisco electronic music community has come together to do whatever we can to champion their legacy, and Run The Length Of Your Wildness is proud to be an enduring part of that legacy.

Hobo Camp is proud to be able to partner with Run The Length Of Your Wildness to produce a release containing music from Cherushii and Nackt, to preserve their legacy and contributions.

All profit from the sale of this record will be donated to the families of Chelsea Faith and Johnny Igaz.

Beautiful, real deal roots from Ronnie Davis, produced by fellow Tennors band mate George 'Clive' Murphy. Recorded in 1975 at Joe Gibbs studio. Impossible to find a record in clean condition, its now bought back with clarity and dub at correct speed on 7inch.

The polish dub master Radikal Guru is back to Moonshine Recordings with a heavyweight 12" vinyl on a 160bpm tip. This time he joins forces with two very talented MC's - Parly B and Baptiste to deliver yet another future classic. Tell dem fi run!

Officially licensed reissue of the 1993 Pete Rock produced Golden Era classic featuring guest rhymes from Pete Rock & CL Smooth. Original Artwork by Ricky Also

N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.

Bristol's finest DJ team - The Allergies are back at it again with the a new single taken from their album 'Steal The Show'... And they've refined their sound even further on the record with more live instrumentation than ever before as they evolve their funky orchestrations to exciting new territories.

Their M.O hasn't changed as they continue to ply their signature playful style that reshapes vintage sounds for the modern dancefloor, with two more red hot tracks guaranteed to get the party started.