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This Canadian duos rich powerpop confections show off lush and sweet pop hooks studded with snappish beats and productions thats as sharp as sherbet lemons. Anyone who caught on to the slow-burn success of 2012s desolately hook-laden Ancient Mars could sense that something in The Zolas was threatening to bubble over, and after a year of recording, their upcoming record shows an alternative pop collaboration at the top of their creative game. Original members Tom Dobrzanski and Zach Gray have been joined by another longtime duo Cody Hiles and DJ Abell and this is the first album theyve completely self-produced at Dobrzanskis Monarch Studios in Vancouver. The currently untitled, upcoming LP marks a major departure from both the cabaret rock of 2009s Tic Toc Tic and the atmospheric minimalism of Ancient Mars. This time around the band dove headlong into vibrant, experimental pop, stirring modern production into the influences that surrounded them as kids growing up in the ‘90s. Record Label: Light Organ Records

Record Label: Secret Style: Psychedelic Rock

A Hand Through the Cellar Door is, in many ways, Temple's most straightforward collection of song-storying tunes to date. There are tales of dysfunctional, broken homes and of dysfunctional, broken people. Birds of Late December, with its fluttering, nimble fingerpicking, paints an exacting but impressionistic portrait of divorce through the eyes of an exceptionally wistful child. In both Maryanne Was Quiet and The Case of Louis Warren we follow two characters whose lives unravel in very different ways, though their central question is the same: After you shed all the things you think make you who you are, what is left? Temple is creating small, confident stories with a massive scope. Yes, while the tales Temple weaves are bleak, the aura of hope never quite fades from the picture. He turns the tragedies of human folly into a celebration of our eccentricities Record Label: Secretly Canadian Style: Singer/Songwriter

Gatefold jacket. Clear vinyl, ltd to 400. Is there such a thing as too many guitarists in a band? Finland's Teksti-TV 666 think not. Formed three years ago, things have escalated rather quickly for the seven-headed shoegazing kraut-punk monster. Armed with no less than five (at times six) electric guitars, Teksti-TV 666 are nowadays one of the most in-demand live acts in their native Finland, and select performances abroad have caused a bit of a storm, as well. After autumn 2016's Finnish tour with Kvelertak, the band will set their sights on Europe, beginning with a tour in Norway. Teksti-TV 666 is a band built on contradictions. It is as if Neu! performed Ramones songs; it is a shoegazing Hellacopters; it is a heavy-but-soft wall of noise, a colorful slow-motion explosion. With over 100 shows played in three years and three EPs behind them, the band's reputation is rapidly on the rise. On October 9th, Svart Records will present a CD/doublevinyl compilation of the band's three EPs. The records - titled 1, 2, and 3 - have all quickly sold out, the last one on preorders only. This compilation is the first time these precious recordings are widely available outside Finland. Record Label: Svart Records Style: Alternative Rock

Originally Issued in Jamaica in 1978, Tapper Zukie's Highly Sought-after Dub Collection, Escape from Hell. Recorded at Jamaicas Premier Dub Studio, Channel One and featuring Jamaicas Top Session Crew, the Revolutionaries (With Sly and Robbie Among their Number), the LP Includes Many of the Most Hard-hitting Rhythms of the Roots Age and is Rightly Considered a Dub Classic. Record Label: Jamaican Style: Reggae

The definitive collection from Las Vegas hardcore legends Subterfuge! The album includes their complete, never before released final live show as well as a selection of demos and remastered tracks from their debut album; Who's The Fool' Available on CD and limited edition red vinyl. A true rock n roll story, Subterfuge formed in the summer of 1981 after a chance encounter at UNLV between Chris Castillo, Mark Souter (a recently arrived student from England). Through a mutual friend Gigli Locatelli joined followed by Jon Bush through an ad in a local music shop. The last piece of the puzzle was Mike Po on drums. With a handful of songs including Jodie Foster, Days of Rage and Rise of the Workers the band fused UK style with American angst and early shows in a fledgling Vegas scene came quickly. Garages / back yards and small underground clubs started to put on gigs and Subterfuge were at the forefront as like- minded kids came together. Subterfuge became the stuff of legend as their live shows continued to improve with a mixture of alcohol, animosity, anger, chaos and passion. Better and bigger shows came, mostly on the West Coast, but regular trips to Phoenix and Tucson always proved eventful. The final Subterfuge tour was a game changer for the band. On the road with MIA and Doggy Style they pushed the self-destruct button amid cancelled shows, band fights, riots, drugs, booze, broken shoulders, and a lack of funds. They returned to Vegas in a destroyed rented Winnebago in total silence and with broken hearts. The party was over. Subterfuge managed one final show supporting the Adolescents at Fenders with the original line up of Jon / Gigli / Robert / Mark and the addition of Paul Summers on lead guitar. This pivotal moment in Vegas hardcore history can be heard for the first time on the live tracks from this album. The album also includes a selection of remastered tracks form the Who's The Fool? sessions. The band is reforming one more time for the Las Vegas Hardcore Reunion show on November19th, 2016 and will be recording brand new songs for a future release. Record Label: Squidhat Records Style: Punk/Hardcore

Record Label: Second State Audio Style: Techno

During the slow incoming spring in May 2016 these gentlemen gathered in a small cottage located in the middle of the forest a couple of miles outside their residence in Dalecarlia, Sweden. Their goal was to put 11 songs on tape, live and raw, over two austere days. And it succeeded. With total concentration and focus together with some canned food everything went very smoothly. Without having seen the light for 48 hours, they left the lonely village with 11 fresh power pop tracks. Although spring is often associated with flowers and birds chirping, it's very dark and gloomy in Sweden during this time of year - the album title Noir felt close and self written. But the material also had gotten into a different direction. Immediately after the members had started working on the album, some time before the recording, they felt that after all the years together they had grown as a band and the songs followed them in the right direction into a stronger and, at this time, darker environment - Noir is certainly a band album in the truest sense. Everything from the most bombastic direct numbers - Tribulation, Light up dark, Candy Donamara - to the darker ones, like the hard hitting opener Bird of the night and Chemicals - is indeed collaborations between the members. Compared to its predecessor, Blockbuster, this album is more coherent than just a collection of songs that the band had at the moment. And because of that the groundwork on the album consistently is based on a close cooperation within the band the songs will clearly grow bigger and even better on stage. Record Label: Rookie Records Style: Rock

180 GRAM AUDIOPHILE VINYL INSERT FIRST PRESSING OF 750 NUMBERED COPIES ON TRANSPARENT RED/ORANGE VINYL Record Label: Music On Vinyl Style: Punk / Hardcore

Imagine Killswitch Engage at their heaviest, with the immediately recognizable guitar playing of Adam Dutkiewicz, the precision drumming of former The Black Dahlia Murder member Shannon Lucas, and the legendary death metal growl of Cannibal Corpse's George Corpsegrinder Fisher - the result is Serpentine Dominion. After 7 years in the making, this highly anticipated project will finally be releasing their self-titled debut on October 28th via Metal Blade Records. The origins of Serpentine Dominion can be traced back to 2009's Rockstar Energy Drink Mayhem Festival, which boasted a line-up that included Killswitch Engage, Cannibal Corpse, and The Black Dahlia Murder. During that fateful summer, Killswitch Engage guitarist Adam Dutkiewicz made a proposition to Cannibal Corpse vocalist George Corpsegrinder Fisher: George, I want to write you a record. On the Mayhem Fest tour, Shannon Lucas, who performed with The Black Dahlia Murder through 2012, was tapped to record drums on the album. Between 2009 and 2016, Cannibal Corpse and Killswitch Engage released three albums each, so scheduling time to work on Serpentine Dominion was no easy feat - but when their rigorous schedules allowed, Serpentine Dominion began to come together, with Killswitch Engage vocalist Jesse Leach penning the lyrics, which touch on corruption within the government, religion, big business, and other timely issues. Ultimately, though, this debut is a pure passion project; it was written and recorded simply for why musicians get into music in the first place: fun. Record Label: Metal Blade Style: Death Metal

Record Label: Boysnoize Style: Techno

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