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Record Label: Revolver Distribution Services Style: Rock

Reissue from 1959! A good after-hours, smoky blues and R&B session featuring Ruth Brown in prime form. Nobody, male or female, sang with more spirit, sass, and vigor than Brown during the '50s, and this session reminded those who had forgotten that Brown could also hold her own with sophisticated material as well as sexy stuff. Record Label: Goodfellas / Cornbread Style: R&B

DELUXE PICTURE DISC VINYL EDITION!!! On April 7th 75 Rush pulled up at The Agora Ballroom, in Cleveland, Ohio – a venue they had played a year before on their first US Tour, and which, like tonights show, had also been the subject of an FM radio broadcast. Playing five cuts from Fly By Night, four from their debut and keeping their favourite cover of the time - Larry Williams Bad Boy - in the set, this dynamic performance featuring superb audio sound quality finds Rush at a still early but most ambitious time in the groups history when it must have seemed, for band and fans alike, that just about anything was possible. Record Label: Parachute Style: Progressive Rock

Record Label: Infrastructure New York Style: Techno/House

Limited 12 Vinyl+CD Special Edition: Golden 12 vinyl 180g audiophile vinyl Sturdy cardboard sleeve Printed inner sleeve Printed vinyl labels Vinyl containing four bonus tracks CD containing all songs of regular album Strictly limited to 500 copies. It is a subtle process, one that has been taking decades and that yet is not to be made undone. We become slaves without realizing it. Slaves to ourselves, biased towards exploiting ourselves in the name of self-fulfillment. We get sucked dry by treacherous achievements and allow ourselves to shatter our dreams to pieces. Man has become entangled in its own spider web, is becoming transparent in social media, consumes to fill the void, falls and does not even notice in his hubris. Welcome to this brave new world of our own design. Welcome to Capitalism TM. ROTERSAND have risen to the occasion in an era when mass media and the Internet have turned consumers from impassive mutes to all too active squallers. When everyone has a voice, no one has. Fortunately for all of us, ROTERSAND have not been put off by this. Quite the contrary: Theirs is a diametric antithesis to todays' empty club music which gave them the ability to rise with their anthemic tracks and important contents – ever critical, intelligent and closer to philosophy than to working off all those scene related clichés. They deliberately left this to the others. Their new album Capitalism TM is not only reaching a new level: It is also becoming more and more apparent that all the bygone years, all the terrifyingly honest, cynical smashers like Truth Is Fanatic or Content Killer were but the mere overture to what Germany's most intelligent Electro project is unleashing now. Capitalism TM is fury and solace combined: Melodies between desperate hope, cynical realism and a profound melancholy, choruses to kill for and an entire arsenal of potential club bangers mark a new all-time high. Music with ambition and depth – easier said than done. Still, the thing with uniting the heart and the mind makes a great PR slogan. What it really means to marry impulse and ratio is only becoming apparent through a stronghold like Capitalism TM. Here, music and lyrics truly walk hand in hand. The one is not to be separated from the other, only together their ambiguous cleverness unfolds. Being a great composer does not automatically entail being a great lyricist. ROTERSAND, however, mark the exception of the rule and deliver a new hybrid of Electro colossus, produced with crystal clear massiveness and armed with a guarantee to detonate – in the clubs as well as in our heads. Scarred by his endless hubris, also Icarus had to learn: The downfall was imminent. The system collapse will affect us all, and the sooner we rethink, the more harm can be prevented. Although it may sound hackneyed: Listen to ROTERSAND! It will help. And even if their salient messages may fall on deaf ears, there still is this furious Electro tempest that will this lead the pack. A perpetual battle is raging in our midst. A battle unleashed on the very day the first gear-wheel creakily sprang to life. Man versus machine. Heart versus head. Emotion versus reason. To this day, this battle is without a vanquisher. And how can it be, with a solitary sovereign being neither necessary nor possible? This epiphany hit ROTERSAND far back in their remarkable career. It's not about the conflict, about clinging to rigid formulas. It's about the cooperation, about the merging of man and machine, of heart and mind, of entertainment and content. Electronic music, yet made by humans. Artificial worlds, yet brimming with life. This is what always distinguished ROTERSAND. Since their earliest beginnings they walked the line between catchiness and demanding themes. And since their earliest beginnings, it was their goal to deliver massive club anthems that not only resonate with heavily armed beats and vibrating synth force, but also with their message. Record Label: Trisol Music Group Style: Rock

Roger Goula is a rising star of contemporary classical music.has based his album on the psychological phenomenon experienced by astronauts when viewing Earth from a distance, allowing them to see the entire planet surrounded by the endless black void of space. This can cause a cognitive shift in the minds of the astronauts, giving them a completely new perspective on life, Earth and humanity. His compositions, in the vein of his peers such as Nils Frahm and Max Richter, bridge the gap between classical and electronic music in a way that is both reflective and transportive. Inspired by renaissance and baroque music (Monteverdi, Bach, Vivaldi), as well as by minimalism (Reich, Glass, Part), and looking at the language of electronic music (Aphex Twin, Autechre), his compositions perform complexity through repetition of minimal elements and emotional textures Record Label: Cognitive Shift/One Little Indian Style: Electronic

Robert Pehrsson (born 13th of December 1975) is currently one of the most talented Swedish rock guitarists. Furthermore, he is an outstanding songwriter as well. It's only a matter of time until a broader (rock) audience will recognize him as what he is: a star in the making. Robert Pehrsson has worked for such diverse bands such as Runemagick, Thunder Express, Death Breath, Dundertåget, Imperial State Electric, Slingblade and also Dagger. He picked up his guitar in 1987 and started a (professional) career in 1994 (at the time concentrating mainly on playing extreme music like thrash and early death metal). In 2013, his debut longplayer under the name of Robert Pehrsson's Humbucker was released (via High Roller Records). It was a perfect example for a contemporary classic rock album, landing the Swedish guitarist extraordinaire the album of the month award in Germany's leading independent metal magazine Rock Hard. No wonder then that expectations for the follow-up album Long Way To The Light are sky high. The record contains eight brand new compositions (plus a re-worked version of the single The Hollow In A Rising Tone). With songs such as Send Her My Love or Traveling Through The Dark Robert Pehrsson's Humbucker carry on where they have left off with the captivating debut album – albeit with even slicker guitar playing and sharper song arrangements. I put so much pressure on myself so I got enough to deal with already, comments Robert Pehrsson on the expectations surrounding the release of Long Way To The Light. The main thing is to not disappoint myself and to know in the end that I did the best I could. I was sincerely happy both for High Roller and of course for myself with the great reviews on the previous album. I think the new album is stronger, but in the end, it's up to the listener and that I have no control over. Listening to Long Way To The Light for the first time, one might get the impression that overall it's a slightly poppier record compared to the debut. It might be, reflects Robert Pehrsson. But it's not really intentional. I like the songs short and to the point with a strong hook. That's what I strive for always. I think people sometimes put us in the same category as more hard rocking bands and we're not really that type of band in the end. I want the freedom to do other styles as well. If I look at the old bands, I like that they were all very diverse, not playing on 10 all the time. D'accord, diversity in songwriting has always been the forté of Robert Pehrsson's Humbucker. But in the past, for some, this has been a dangerous road, if you look at Phil Lynott's solo album Solo In Soho, which for some is, well, a total mess. I actually like a lot of that album, confesses the Swedish guitarist. But maybe it was wise to do it as a solo album. I'm not scared to try different approaches to both writing and recording and I think it's possible to paint with a wide brush and still be true to the overall sound of the band. I'm not talking about rocket science here and we record in a very old school fashion. But there are so many different ways to approach things and I am intrigued with these things. I'm interested in the craft of songwriting and recording. This approach shows on each of the nine tracks of the record. So nine songs once more (just like on the debut platter), that must be the lucky number for Robert Pehrsson indeed. I guess so, he laughs. There was more material written and recorded, but I was not 100% happy with how some of the songs came together so I've put them on hold for another day. I don't want any filler material and I don't like albums that go on forever personally. Sometimes we are limited as performers. I wrote some material for this album that I was really excited about, but I just could not make it sound right this time around. I listen to lots of different music and I would like the band to be able to do diverse material. The biggest difference is that we have played live since the first album, comments Robert Pehrsson on the main differences between the first album and Long Way To The Light. My approach for the writing was not that different, but I kept in mind that I want do be able to perform the songs live in their true form. I also co-worked with Joseph Tholl, Nicke Andersson and Andreas Axelsson on some tracks. So I think there is more of a band feeling to this one compared to the first album. And that was something I wanted from the beginning when I started working on this album. Robert Pehrsson's Humbucker have played around 40 live shows since the debut album, so the line-up is starting to gel. Robert Pehrsson: Long Way To The Light has been recorded mostly by me and Nicke Anderssons (drums and bass). Joseph Tholl has also been involved a lot. I really like recording with these guys. But a lot of the players on the previous also appear on this. The live line-up has been Joseph Tholl, Jakob Ljungberg and Jens Lagergren, and they all appear on the album. It's a mixture of really talented friends from other bands: Enforcer, Imperial State Electric, The Hellacopters, Tribulation etc... We tend to do a lot of stuff together. Here's some names: Robert Eriksson, Jonas Wikstrand, Johan Bäckman, Johannes Borgström. The list goes on! Maybe Robert Pehrsson is indeed one the last great guitarist in the tradition of Ritchie Blackmore, Michael Schenker, Jimmy Page and Scott Gorham. But then again Long Way To The Light is not a guitar-driven record per se. So what comes first for the Swedish guitarist exytraordinaire, the song or the guitar performance? Robert Pehrsson: Thanks! The song is always first. I see it the same way playing live. I want us, as a band, to play together and be a strong unit. It's not about individual performances at all. I do, however, think there is quite a lot of guitar playing, but there is no room for unnecessary flash in the songs. I want the listener to feel that the solo is an integral part of the song and not just there for me to show off. My main goal is to create a solo that you can and would want to hum along to. There are lots of great songs on the album, for example Zero Emotion. It's some kind of a love song, correct? It's more of a breakup song, laughs Robert Pehrsson. And how you sometimes end up dealing with things like that. A lot of the lyrics are about losing loved ones in one way or another. I guess it's because I'm at that age now when things like that happen, whereas in the past I did not really have to deal with that in the same way. The closing number No I don't is quite funky partially … so maybe the right choice for the title of most unusual song on the album? Robert Pehrsson begs to differ: I would probably say it's rather 'Traveling Through The Dark'. It's got an 1980s vibe to it and I don't really see any other of the songs having that. But overall I think this album is more diverse. 'Pretender' also comes to mind as a bit unusual and something we have not really done before. These are the songs I tend to like the most. Record Label: High Roller Records Style: Metal

Record Label: Pias Recordings Belgium Style: Independent

After spending the past three years cutting acclaimed records for such esteemed imprints as Innervisions, Hotflush, and Acid Test, Recondite has rejoined the Ghostly International fold with an EP that builds on the robust field recordings and pale, moonlit melodies of the Berlin producer's breakthrough LP Hinterland. Named after the foreboding family of birds that includes ravens and crows, Corvus is a chilling listen inspired by everything from The Revenant's Ryuichi Sakamoto soundtrack to Max Frisch's heady novel Homo Faber. After all - the Rottal-Inn native insists there's a light at the end of this particular tunnel. Or as he puts it, Melancholic doesn't necessarily mean dark. Music can be happy and moody. Record Label: Ghostly International Style: Electronic

One of the most valuable vinyl artefacts of the UKs psychedelic era. the Pussy album Pussy Rays nevertheless has remained something of a mystery even amongst hardcore collectors: despite counterfeit releases on both CD and vinyl formats over the last decade or so, the group's origins and personnel have continued to elude the best sleuthing efforts of fans and researchers alike. David Wells Record Label: Morgan Blue Town Style: Psychedelic Rock

Record Label: Vinyl Eck Style: Metal

Kingmaker is Pretty Maids highly anticipated follow up to 2013's critically and commercially successful release Motherland, a record that continued the revitalized path that the band set out upon with the now classic album Pandemonium. It's always difficult to follow a successful and inspired record, but Kingmaker shows Pretty Maids are still in the freshest and most vital phase of their career since the early 90s. The production is absolutely stellar thanks to Jacob Hansen (Volbeat), who has given the band a sound that not only reinvigorates them, but also incorporates the soundscapes of the past. Modern and classic at the same time, if you will. What can then be said about Ronnie Atkins and Ken Hammer? One of the best song writing teams in the genre, hands down. Atkins' voice just gets better and better as the years go by. Menacing and vicious one minute, melodic and soothing the next. Likewise, Hammer is on fire here and lays down some of his heaviest riffs in recent memory. Every track on this beauty is worthy of attention whether it is an in-your-face melting barn burner such as the one-two starters When God Took A Day Off / King Maker, Bullseye, and Humanize Me or timeless melodic metal anthems such as Face the World and Heavens Little Devil or even a superb power ballad like Last Beauty on Earth. This record has everything Pretty Maids could possibly ask for! Dont miss them when they play live in a city near you – youll be blown away by the explosion of Danish dynamite! Record Label: Vinyl Eck Style: Metal

Vinyl, LP, Album

Record Label: Second State Audio Style: Electronic

Record Label: GKNSTR Style: Techno/House

Transparent Vinyl! LP incl Download Card with Bonus Tracks. Record Label: Secretly Canadian Style: Avantgarde

Secretly Canadian is honored to partner with Chimera Music on releasing Yoko Ono's musical output from 1968 to 1985. Comprised of eleven studio albums, the reissue project's focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades. Secretly Canadian and Chimera Music couldn't be more proud to be a part of re-introducing Yoko Ono's seminal work. The first batch to be reissued will be 1968's Unfinished Music No. 1: Two Virgins, 1969's Unfinished Music No. 2: Life With The Lions, and 1970's Plastic Ono Band. This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Yoko Ono Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voormann and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1970, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 45 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today. Secretly Canadian's reissue also includes four additional songs - Open Your Box, Something More Abstract, Why (Extended Version), and The South Wind - that did not appear on the original release. Record Label: Secretly Canadian Style: Avantgarde

The Olympics are an American doo-wop group, formed in 1957 by lead singer Walter Ward, who started the hully gully hype around 1960. this is a reissue of their 1960s album! Record Label: Goodfellas / Cornbread Style: Doo Wop

180 GRAM AUDIOPHILE VINYL INCLUDES INSERT / GATEFOLD SLEEVE PVC PROTECTIVE SLEEVE MUSIC COMPOSED BY MULTIPLE AWARD WINNER ALEXANDRE DESPLAT OST OF THE BRAND NEW 2016 MOVIE FIRST PRESSING OF 500 NUMBERED COPIES ON OCEAN BLUE VINYL Record Label: At The Movies Style: Soundtrack

180 GRAM AUDIOPHILE VINYL GATEFOLD SLEEVE / 4 PAGE INSERT PVC PROTECTIVE SLEEVE INCLUDES A NEW ADAPTION OF THE BOURNE TUNE EXTREME WAYS BY MOBY FIRST PRESSING OF 1.000 NUMBERED COPIES ON WHITE VINYL Record Label: At The Movies Style: Soundtrack

180 GRAM AUDIOPHILE VINYL INCLUDES INSERT / GATEFOLD SLEEVE 15 YEAR ANNIVERSARY EDITION FIRST TIME ON VINYL / FREE POSTER PVC PROTECTIVE SLEEVE FIRST PRESSING OF 1.000 NUMBERED COPIES ON TRANSPARENT GREEN/BLACK CAMOUFLAGE COLOURED VINYL Record Label: At The Movies Style: Soundtrack

coloured vinyl, downloadcode. Non Canon exists apart from the story we know and love. A concurrent storyline, a different perspective, the world we experience through someone else's eyes; familiar but insightful for its new dimension. In another life entirely, Non Canon gathers maelstroms of guitar noise and feeds them with caustic, yelled, (a)stringent sentences, calling himself Oxygen Thief. Having spent ten years deftly swerving expectation at every measure as OT, Non Canon turns things on their head again. He threads cello where there may have been feedback once, places a third chord where two key changes could have lain, and repeats a chorus line where a scream may have broken the silence instead. He's returned to his acoustic beginning, thats true, but hes torn that up and refused to retain his previous self-taught lessons. When recording the self-titled album, all the strings, piano and drums were written on a computer before being sent to musicians to learn and play on recordings. Chris T-T's piano playing stand out on 'Bad Twin', while Ben Marwood and Charlie Barnes (a touring member of Bastille) contributed backing vocals, along with Gareth from My First Tooth playing drums, and the guitarist from Barrys first ever band playing violin and viola. Non Canon is a new story, but its a story of its own, one that we will soon know and love with its own history, character and setting. Record Label: Xtra Mile Style: Singer/ Songwriter

Record Label: Svart Records Style: Pop

Record Label: Svart Records Style: Pop

Necronomidol is compelling. Whereas other idols that do metal opt for either a big, melody-heavy sound (Babymetal, Mugen Regina) or thrashy, boot-to-face headbanging fury (Haloperi Doll, Fruitpochette), Necroma has a place thats half rooted in Black Sabbath and half in Kraftwerk; at their prettiest and most idol, theyre often at their darkest and most synthetically ethereal. They often sound like a dance party in hell. Like, when people would say, Seriously, dude, this J-pop thing, Id throw them the Vulture MV thats been scrubbed from the Internet but needs to be restored even if its just on my hard drive because that was some creepy, scary shit. When they graduated from temple maidens garb for their current were attendants for the Undertaker outfits, it was like theyd found their soul. In truth, I was prepared to not be wowed by this album. On the one hand, its loaded with material from their singles (albeit in some cases completely re-done); on the other, when a group is less defined by genre than by atmosphere, attitude and style, theres a greater risk of swinging and missing. Formulaic isnt a great thing, but its a safe thing, and good formulaic is at least more pleasing to the ear than a sonic whiff. Record Label: Goodfellas / Specific Records Style: Electro/Metal/Wave

Nadja return on November 4th with The Stone Is Not Hit By The Sun, Nor Carved With a Knife - their first release for Gizeh Records. The Canadian/Berlin-based ambient doom duo of Aidan Baker and Leah Buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. Encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements of the duos recent Queller album, coupling that approach with Nadjas more traditional sprawling, dense and challenging sounds. The relentless fuzzed-out textures repeat and build into a blissful and cathartic whole - a place to be completely immersed. In the deep, glacial and all-consuming world that Baker and Buckareff provide us with here, there is a will to dissolve, to let the record wash right over you or perhaps even through you. At times crushingly beautiful, Stone, Sun, Knife is brought to life by its clever restraints with quieter interludes serving a perfect purpose against its more intense, heavier moments. The albums intriguing title comes from a runic inscription on an Icelandic burial stone but the phrase also appears on the Eggja Stone which provided some of the lyrical content on the record. Nadja have a habit of transcending genres and indeed throughout their career they have been incredibly difficult to pin down. The Stone Is Not Hit By The Sun, Nor Carved With A Knife is a welcome addition to that hefty catalogue and stands up tall against their most impressive work. Record Label: Gizeh Records Style: Ambient

Third Mystifier album re-issued in time for European tour in Autumn 2016! Black death Metal of morbidest occult! Record Label: Hammerheart Style: Death Metal

Fast, technical, melodic; those are just a few words that the punk rock community uses to describe MUTEs music. Considered by many to be a crucial staple in the skate punk world, the band has spent the last 18 years taking a 100% DIY approach to bringing its music to the masses! Boasting four albums – Blueprints (2001), Sleepers (2004), The Raven (2008) and Thunderblast (2011) as well as a combined total of over 2 million MUTE fans have watched one of the bands official music videos. MUTE has played more than 600 concerts in over 25 countries in North America, South America, Asia, and Europe: from small indie venues to the main stage of some of the worlds most prestigious international festivals! The quartet was fortunate enough to tour with famous punk bands like Rise Against, NOFX and Lagwagon and to share the stage with legendary artists like Bad Religion and The Offspring. Tireless and faithful to its devoted and hardworking DIY ethics, MUTE is still going strong. With a 5th album on its way – Remember Death – and a lot more touring to come, MUTE is, and will remain, a force to be reckoned with in the punk rock world! Record Label: Bird Attack Records Style: Punk / Hardcore

The German techno producer's second full-length arrives in late October. Dystopian will release Monoloc's second album, The Untold Way, at the end of next month. Monoloc, AKA Sascha Borchardt, might best be known for his connection with Chris Liebing's CLR, the home to his first full-length, related vinyl EPs and a handful of other tracks and remixes. Over the past year or two, the Frankfurt techno artist's output has become more diversified—he's appeared for the first time on labels including Hotflush, Soma, Life And Death, Afterlife and Innervisions. Next, he'll make his Dystopian debut with The Untold Way, which is described as offering techno of a less club-focused sort alongside more experimental and ambient fare. One production features Belgrade DJ and vocalist Tijana T, who mixed RA's 533rd podcast last month. The 12-track LP, Dystopian's first full-length, is set to come on double-vinyl, CD and digital formats. Record Label: Dystopian Style: Techno/House

Mndsgn (born Ringgo Ancheta) grew up in south New Jersey, raised with Gospel music at church, and B-Boy culture at home. Experimenting with beat-making, he befriended fellow producer Knxwledge and the two formed the influential Klipmode collective (along with Devonwho and Suzi Analogue). Mndsgn's music flourished when he moved to Los Angeles, catching the attention of Stones Throw who released Yawn Zen (2014), an LP of introspective and mostly instrumental beat creations, punctuated by vocal cuts. Body Wash is his second album for Stones Throw, a full set of realized songs that were only hinted at on Yawn Zen. Influences here include the likes of early SOLAR records material, Leon Sylvers III, Kashif, and Dave Grusin. These artists, Mndsgn says, embodied that potent feeling in the early 80s boogie/funk/soul/jazz/fusion wave. He adds, I was also digging back into some early 90s R&B sounds and started really imagining what it would be like if I had mashed the two eras together. He explains Body Wash as a soul record that plays with nostalgic elements in a very dynamic & positive way. Think about it as a box of crayons for you to draw emotions with. The album was built around a backstory, a loose narrative thread through which he could filter his unformed ideas. In the narrative, a homeless man encounters a mysterious woman who gives him shelter. She instructs him to bathe with a very peculiar body wash. As he soaks and sinks deeper in a thick lather of this unknown solution, the man finds himself transported to an alternate dimension. Mndsgn describes the story as a vessel that would allow me to speak on topics that were universally relatable … The story actually became a true outlet for me to address worldly issues with Self. The resulting album also represents a dynamic step forward in songwriting. Without explicitly relating its plot or characters, the album as a whole turns on the story's key theme, the psychedelic, transformative power of love. Record Label: Stones Throw Style: Electronic