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I Had Grown Wild" is the culminative EP in a series of releases that began in 2014, and is the followup to the success My Brightest Diamond's 2014 full-length "This Is My Hand." This EP of five tracks includes two new original songs from MBD, and a remix of "This Is My Hand" in both English and French. The EP begins and ends with a minimalist but driving remix of the LP's title track, "This Is My Hand," first sung in French, then in English. "Say What", inspired by a poem by Staceyann Chin, recontextualizes images from Billy Holiday's "Strange Fruit" and issues a challenge to compare and contrast the experience of black and white Americans. Continuing on the subject of children, "Bronze Head" lets off the steam with text taken directly from William Butler Yeats' poem by the same name. Birth, the body, and the afterlife all take their places on this EP, with the concluding song "Apparition". Since first singing Stephane (2 accents needed) Mallarme's poem set by Claude Debussy for the song cycle "Quatre chansons de jeunesse" in college when she was studying classical voice, Shara fell in love with the image of the ghost who with glowing hair who leaves behind a trail of white bouquets of perfumed stars Record Label: Asthmatic Kitty Style: Independent

Record Label: Pias UK/BMG/Sanctuary Style: Pop

Here's an exclusive live set of Mott The Hoople, recorded their exclusive 5-date UK reunion tour in 2013. Offering the band's first live recordings in over 4 years, the set contains rare footage from Mott's show at the Manchester Apollo on 17th November 2013. The live album features classic hits s.a. 'All The Young Dudes', 'All The Way From Memphis' and 'Roll Away The Stone'. Record Label: Rock Classics Style: Rock

Record Label: Vitesse/Iras Style: Rock

Vinyl: 500 black vinyl, with booklet insert / poster and DL card. Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7" "Don't Fear The Reaper." Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career. Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music. Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: "They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power. Record Label: Night School/Forte Style: Independent

LA.-based producer/composer/DJ Matt Lange delivers a darkly melodic breed of electronic music rooted in raw energy and emotion. Hand-selected by deadmau5 as one of the latest signings to his label mau5trap, the lifelong musician now makes his full-length debut with the groove-heavy, intricately textured Ephemera. As his first album release for mau5trap, Ephemera's title reflects the restless innovation inherent in Lange's musicianship. 'The album's really a snapshot of where I am right now as an artist,' Lange explains. 'It's this turning point where I have one foot in the world of dance music, and the other foot in a whole different direction.' With Mixmag pointing out that Lange possesses 'more musical predilection in his pinky than most producers' entire catalog,' Ephemera reveals both the creative adventurousness and exquisite precision at the core of Lange's sound. 'My music is always very handmade,' says Lange, noting that most of Ephemera's tracks started out on guitar, piano, or modular synthesizer. 'I don't ever use any outside material. Creating it all on my own lets me have a much more personal connection to everything I do.' And though the album's offerings veer from the eerily charged yet infectious atmospherics of club tracks like 'My Love Aside' to the downtempo intimacy of vocal-driven numbers like 'Lying to Myself,' all of Ephemera is infused with a moody intensity that proves the depth of that connection. 'I'm not very good at writing bright, happy music,' says Lange. 'I need there to be an underlying sense of melancholy in order to really get pulled into the song.' Growing up in Manhattan, Lange started playing piano at age four and sung in a boy's choir from ages six to 13, then picked up the guitar and quickly joined a hardcore/metal band. 'I got into the production side of things when I was 15, mostly because I wanted to make my own demos for the band, and that completely changed my relationship with music,' says Lange. After majoring in music production at Boston's Berklee College of Music—and shaping his sound with inspiration from groups like Hybrid and Telefon Tel Aviv—Lange was enlisted by BT to co-produce his critically acclaimed, Grammy Award-nominated album These Hopeful Machines. Lange next struck out on his own, turning out releases like 2014's Staccato EP (a #2 Progressive House Release on Beatport), creating official remixes for tracks as eclectic as The M Machine's 'Shadow in the Rose Garden' (OWSLA) and Usher's 'Numb' (RCA), and serving as producer on Glenn Morrison's 'Goodbye' (a 2013 release that went platinum in Canada and sold more than 500,000 copies worldwide). Along with playing festivals like EDC Las Vegas and TomorrowWorld and earning praise as 2014's #1 DJ to watch by VIBE.com, he eventually caught the attention of deadmau5, who included his 'Scorched Earth Policy' on the We Are Friends: Volume 3 compilation (released in February 2015) and 'Nice Shades, Wesley' on We Are Friends: Volume 4 (June 2015). Despite exploring so many genres and directions through the years, certain principles have remained constant for Lange. 'As I got older, I found the tracks that worked out best were the ones I made without regard to what other people would think of them,' he says. 'People can always tell when music's coming from a place that's true to you, so I learned that the key is to be totally honest and just do what I love and what interests me most.' That honesty is also closely tied to his creative process and musical sensibilities. 'To me electronic music is mainly a medium that gives you the freedom and ability to use anything you want to,' he says. 'When you take live instrumentation and process it in a way that creates this hybrid sound that's stuck in between two worlds and you can't figure out what's what, that's my favorite space to live in. The only real limitation is what you're able to imagine Record Label: Mau5Trap Style: Techno/House

Record Label: Outta Sight Style: Soul

“I was 15 years old in 1989. This record sounds like the record I wanted to make when I was 15. It just took 25 years of mistakes to get it done.” – Ben Nichols. Following the release of 2012’s Women and Work, Lucero’s new album All A Man Should Do contains some of the most resonant lyrics Ben Nichols has ever written. They read like chapters from his life: the duality of relationships, getting older, finding where you want to be in this world and more. Working with producer Ted Hutt (Old Crow Medicine Show, Flogging Molly) for a third time at Memphis’s Ardent Studios, the band felt comfortable enough to take some chances with a palette of new tones that sound understated yet powerful, bringing life to the stories behind the lyrics without overshadowing them. Listen to the soulful track “Went Looking For Warren Zevon’s Los Angeles” below. And for the first time they put a cover song on a record, with a full band version of Big Star’s “I Fell in Love with a Girl”. The track features Jody Stephens from Big Star singing back-up vocals, making it that much more special. This is a Memphis record in the greatest sense and a perfect finish to the three-part love letter to a city that brought them up and made Lucero what they are today Record Label: Pias Coop/Ato Style: Rock

Liquid Liquid, the no-wave band so good they named them twice, get their first three, groundbreaking EPs re-released as part of this great retrospective on Domino, which also compiles a number of previously unreleased and live recordings there are ten bonus cuts in total). The influence of the New York post-punk band can be heard throughout today's more rhythmically-oriented rock bands, from the DFA roster to !!! and The Rapture, but beyond that, as if the impact (however furtive) this band had on popular culture wasn't clear enough, a quick listen through 'Cavern' reveals the foundations of Grandmaster Flash's 'White Lines' which sampled and generally plundered the song for all its worth. Liquid Liquid were also one of the first bands to incorporate the percussion-heavy sounds of Afrobeat and more experimental drum manoeuvring: the treatments and production techniques bhind 'Lub Dupe' sound like a particularly odd piece of early radiophonic tape music, while a song like 'Bellhead' is equal parts gamelan orchestra and Rio carnival. Liquid Liquid could be the very archetype of a band who made a vast impact on the musical climate despite its minuscule discography, although the release of this hour-long collection means there's never been quite so much of it all in the same place before. Essential Purchase. Record Label: Domino Records Style: Independent

Who needs institutions? Who needs an international court and governments? Who f*cking needs Brussels? LIQUID BREAKFAST, the new Power Pop sensation with members from the Netherlands, UK and Germany, gives us a new direction, and setting a new example for pan-European collaboration that works! All you need is fun, beers and good Power Pop Punk Rock and Roll! Record Label: Still Unbeatable Style: Punk Rock

Lionlimb is Nashville native Stewart Bronaugh's recently resurrected project. Originally started in 2010, the project was put on hold as Bronaugh worked as a day laborer in Chicago and San Francisco before making his return to the Midwest. It was then that he began collaborating with drummer and so-called "intuitive dogmatist" Joshua Jaeger. Shortly thereafter, the two joined Angel Olsen's backing band both on tour and on her seismic Burn Your Fire For No Witness (2014). The recent revival of Lionlimb exhibits a thematic shift which includes jazz elements and Bowie-esque guitar arrangements, complemented by Bronaugh's effortless vocals. With Jaeger on drums and production by Nashville's Robin Eaton, the upcoming Turnstile EP will be Lionlimb's first official release, out on Bayonet this September Record Label: Bayonet/Sc Style: Independent

Limited first pressing on halb blue/halb white vinyl - 180g An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving. The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis. Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey. With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spin Record Label: Denovali Style: Electronic

Limited to 500 blue marbled double LPs in a gatefold sleeve plus poster! Record Label: Metal Blade Style: Metal

Limited to 500 purple double LPs in a gatefold sleeve plus poster! Record Label: Metal Blade Style: Metal

Record Label: Rocket Girl Style: Independent

The new album by THE JOKERS presents traditional rock music at its most timeless and pure. And it presents a spirited band who transforms its vitality into pure energy. And it sounds like The Jokers may well have hit the jackpot with Hurricane. Especially since no expense was spared when it came to the decisive production parameters: the album was recorded at Liverpool’s Parr Street Studios and produced, engineered and mixed by Tom Size (Aerosmith, David Lee Roth, Journey, Steve Miller Band, Huey Lewis, Mr Big, etc.) at the Tomland Studios, San Francisco. 1. Run 4 Cover Record Label: Steamhammer Style: Hard Rock

The unusual, famous ,Konzert für 12 Traktoren" was only performed a few times by twelve tractors built in the 50s and 60s. A symphony produced by old engines - according to this beautiful project Trost releases a special picture disc vinyl. Sven-Âke Johansson (Mariestad, Sweden, 1943) works as a composer, drummer, accordionist, poet, and visual artist. Longtime collaborator of the free improv scene in the German sixties with Kowald, Brötzmann, Schlippenbach, Reichel. He contributed to numerous exhibitions, publications and recordings. ,The tractors sing about a time passed by. but no future without memories. So the ,Konzert für 12 Traktoren" is as well a piece to praise labour". (Ebbe Gilbe) performed by 12 tractors, 2009 in Orust (SE) composed by Sven-Ake Johansson Record Label: Trost Style: Avantgarde

Second Full-Length Album. A wild rollercoaster ride with stoner attitude, MÖTLEY CRÜE glam, classic rock & feisty grooves! A two men inferno - pure rock fury hell Brendan Harvey and Dale Hudak aka Jackson Firebird have proved for the second time that it only needs two guys to raise pure rock fury hell! Shake The Breakdown is so much more than just a cock rockin`affair though: the Australian duo invites us to a wild rollercoaster ride through several styles while rattling our bones with stoner attitude, Mötley Crüe glam, classic rock and feisty grooves! At the same time this album gives us a glimpse at the unbound and raw energy Jackson Firebird unleash on stage: shake it!!! Record Label: Napalm Records Style: Rock

FREAKY FUZZ-GARAGE POWER TRIO FROM BERN SWITZERLAND formed in 2007 by Jackie Brutsche, Chris Rosales and Samuel Schmidiger (former members of: THE GET LOST, MAD COWGIRL DISEASE, REVEREND & LIGHTNING BEAT-MAN, to name a few!). Their first two albums were released on the fantastic SOUNDFLAT RECORDS, Germany (2012) and SUBVERSIV RECORDS, Switzerland (2009). Singer and guitar player Jackie Brutsche (aka Jack Torera) is not only a very charismatic and strong front woman, but probably one of the only ones of her kind in the male dominated ROCK & ROLL world! Her stage performances are extraordinary and probably the WILDEST since Switzerland's KLEENEX in 1978! The Jackets have a rhythm section every one dreams of! This is traditional Drum & Bass at its tightest and best! What Chris Rosales and Samuel Schmidiger create together is the rhythm that makes the girls lift their skirts and the boys drop their trousers! The purist beat for every Garage Punker or whoever you are! To create this new album the band went to the well known all analog recording studio CIRCO PERROTTI in Gijon, SPAIN working with engineer and producer Jorge Explosion. The result was a pure product with not a trace of the digital just a straight, to the point GARAGE rock & roll record! Enjoy it, because we sure are!! Record Label: Voodoo Rhythm Style: Garage Rock

To coincide with their first Australian tour, New York's IRON CHIC and Poison City are teaming up to release a new limited edition 7". Spewing forth more of the infectious, self-deprecating punk-indie-rock brilliance that IRON CHIC have become renowned for, the two brand new tracks pick up exactly where 'The Constant One' album (Bridge 9) left off. Also includes a cover of Dead Kennedys 'Dog Bite' as the second B-Side. "If ever a band was created for an epic sing-a-long, it was Iron Chic. There's that big feeling at the core of their soaring melodies as they build and rage, starting with a verse from Jason Lubrano and building to a gang sing-a-long at the chorus in nearly every song. They're songs that transcend the performers, taking on the personality and voice of an entire room." - Scenepointblank "Quite often, "pop-punk" gets used to describe something that's actually indie rock (see: Swearin', Japandroids), which can trigger a lot of negative biases amongst people who are fairly certain they're not into the former. The difference lies in tone: pop-punk evokes palm-muted power chords with clean distortion and nasal vocals, whereas indie rock is most associated with shambling, jangly and fuzzy guitars with drawling vocals. Iron Chic gives you both!" - Pitchfork Record Label: Poison City Style: Punk

Record Label: Dreamcatcher/Sunspot Style: Reggae

In the year 2015, it may be that only foolishness or forgetfulness can excuse being surprised by the pace and power of a rock and roll machine coming out of the holy state of Michigan. Yet such is the power of the perpetual energy expressed throughout "Holy Water Pool," the new full-length album by Heaters on Beyond Beyond Is Beyond. If there's an offer of salvation within "Holy Water Pool," its one that comes with a catch: you have to risk drowning. Drowning in this case brought on by the rapid-rush of these eleven songs over forty-one minutes, creating an album that consistently offers explosion while also always keeping its fuse lit. "Kamizake" is the suitably deadly opener, as much an invocation of the ghosts of reverb past as it is a song. Broken shards of the Bo Diddley beat, detritus left behind by the three-eyed men of the Elevators, the amplifier-abuse-turned-illumination of The Warlocks - all feed the rich soil from which "Holy Water Pool" emerges. And perhaps nowhere on "Holy Water Pool" is the fruit of that soil better served than on "Master Splinter," an instantly-under-your-skin gallop of greatness that lays bare both the unbridled joy and teeth-gnashing distress of what we like to call rock and roll. Moments of "Holy Water Pool" threaten to turn into a wave pool, holy or not, given Heaters almost incongruous surf-city leanings. Sonically, this is more than the sum of its parts (and more than the sum of second-hand Ventures records, too) in the way it colors the band's sound, with their relatively defined palette expanding to a depth that's deceptively broad and ultimately breathtaking. "Gum Drop" is perhaps the albums sweetest treat, here the pace slowed to a somnambulistic shuffle, with the band threatening to disintegrate completely into the sound that grows ever more cavernous at every turn, tethered to reality only by the siren sound of saxophone. On the album ending "Dune Ripper," our eyes initially crossed and read the title as "Duane Ripper," as in the million-dollar twang delivered by Duane Eddy. It's a ripper, for sure, and leaves little doubt that this dose of "Holy Water," delivered with chilling efficiency by Heaters, has had its intended impact on our ears. Onward flows the "Holy Water Pool," the rambunctious and replenished flow of rock and roll, inviting all for a cleansing, refreshing dip. Jump in. - revoltoftheapes.com Record Label: Beyond Beyond Is Beyond Style: Independent

Limited to 500 transparent vinyls with two bonus tracks in a gatefold sleeve!!! Brand new 4th album by Graveyard, a band that stands for no boundaries, no limits at all. Playing all sorts of rockish music makes the band stand out from the crowd. Be it classic rock, blues, jazz, folk – you name it – the authentic quintet makes it sound real. With wide influences spreading throughout different genres, Graveyard always stay top notch in what they do – giving the listener a broadened spectrum of emotions, moods & feelings. BLACK SABBATH meets ROLLING STONES meets LED ZEPPELIN meets JANIS JOPLIN … the list could go on longer and longer. While other bands just count on their neo satanic attitude or revived old school imagery, Graveyard delivers it all along with stunning tunes that take you on a journey to a long lost decade of true musicianship. Recorded at Atlantis Studios in Stockholm by Janne Hansson, “Innocence & Decadence” is Graveyard’s fourth full length release Record Label: Nuclear Blast Style: Metal

Self-titled debut album of the multi-instrumentalist and songwriter Georgia Barnes. Written, performed and produced by Georgia in its entirety and recorded in her own home-studio, ‘Georgia’ is the product of two years of obsessive work, but also a young lifetime of voracious music listening. Elements of the glacial yet hyper-melodic tone of early 00's grime, sweltering, mid-summer west London dub and ragga, sophisticated pop, first wave post-punk agitation, the formative influence of Missy Elliott and the high-concept, illuminated sound-design work of contemporary artists such as The Knife and Hudson Mohawke run through ‘Georgia’, a record that reveals new layers of intrigue and ingenuity with every listen Record Label: Domino Records Style: Electronic Pop

Black vinyl limited to 250, first pressing - Mastered at 45 RPM GATHERERS released their first EP Postcards in March 2012, followed by their debut full-length Caught Between a Rock and a Sad Place in June 2013. God Deluxe is GATHERERS' new, one-song 7" vinyl. The song will also be featured on the band's forthcoming full-length, which will be released later this year through Equal Vision Records. "This was one of the last songs we wrote for our upcoming full-length but ultimately we liked the idea of opening our record with this utterly filthy bass line," the band reveals. "Thematically, "God Deluxe" deals with consumerism and our constant need to industrialize at all costs. There's something terribly ugly with a culture that thrives on false needs many of which delude people to the point of detachment from one another. Who can build it higher? Who can wear it sexier? Whatever it is, we need it now and we will literally kill for it. Record Label: Equal Vision Style: Punk/Hardcore

Record Label: Klondike Records Style: Rock

Deluxe double vinyl LP pressing includes the original release accompanied by a second LP filled with rarities related to the album. Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. The gro 2 × Vinyl, LP, Album, Deluxe Edition, Reissue, Remastered, 180 Gram

When saxophone extravaganza John Dikeman, Belgian guitar experimentalist Dirk Serries and legendary UK drummer Steve Noble decided to team up, it was clear that the result would constitute an impressive improve avantgarde record. Inventive, harsh, precise! Recorded at Soundsavers Studio, London, in 2015. John Dikeman (US) - saxophone Steve Noble (UK) - drums Dirk Serries (BE) - guitar Record Label: Trost Style: Avantgarde

LIMITED GATEFOLD LP Psychedelic doom purveyors, Dark Buddha Rising, will be releasing their fifth studio album,Inversum, on 25th September, their first release on Neurot Recordings. The album follows their 2014 European tour with Mr. Peter Hayden, with the Finnish black psychedelic doom 6-piece deservedly garnering further recognition as masters of the art of the hypnotic and dark sonics, which they have been honing for the past 8 years since their inception Record Label: Neurot Style: Metal

Strictly Limited to 500 Copies in BLACK Vinyl. 7" Vinyl E.P. Single. An appetizer, on Vinyl Only, for the new DANZIG album "Skeletons" to be releases in September 2015. The B-Side contains an exclusive "Vocals And Keyboard Version" from the cult movie title track "Satan" from "Satan's Sadist" Record Label: Afm Records Style: Metal/Rock