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Artist: Rip Label: Guns of Brixton

Style: Independent

Record Label: Drag City / God Style: Metal

Record Label: Avantroots Style: Techno

Record Label: Ubiquity Style: Funk

Record Label: Sound Pollution / Black Lodge Style: Metal

Style: Rock

Record Label: Essential Style: Independent

180 GRAM AUDIOPHILE VINYL / GATEFOLD SLEEVE Originally released in 1977, Cat Scratch Fever is the third studio album by Ted Nugent, and a very successful one: it went multi-Platinum and some say it's his best album ever. Recorded in New York and London, the album saw the return of lead singer Derek St. Holmes, who had left the band during the recording of 1976's Free-For-All. The album was the last one with his original solo band. The title track (and single) "Cat Scratch Fever" is perhaps one of the best hard rock anthems of all time. This album is a real Rock classic in the truest sense of the word! Style: Rock

Record Label: Republic Of Music Style: Alternative

The New Christs last gave us a full-length album of new material over five years ago, but the wait for a new release is finally over. June 6th will see the band return to record store shelves with their fifth studio album,"Incantations". Recorded by Jim Moginie (Midnight Oil) in his Sydney studio and mixed at the famed Alberts Studios by award winning engineer Wayne Connolly, the album highlights the bands diverse song-writing talents while maintaining the high-energy performance they have become known for across their three-decade long history. "Incantations" opens in party mode with "Ghostlike", a stomp that kicks in hard and never lets up. The New Christs move into their unique and familiar rock sound tinged with surf and garage on tracks like "Waves Form" and the intriguing spytheme like "Unless". "It Means Everything" will more than satisfy the rock n roll crew, and there's a relentless grind and menace to "It's Not A Game" and "Precious Little". Overwhelmingly however, the record is speckled with moments of pure pop: "Golden Street" and "We Are Lovers" reveal a delicate side of The New Christs with Younger singing in a lower register to great effect. Then there is the gloriously bittersweet "This Is A Party", that would sit well alongside older gems like "On Top Of Me" (We Got This, 2002). "Incantations" is another diverse, cohesive and exciting record from a band that continues to be vibrant and vital. While it has taken some time to get together their new album, the band has kept busy during that time, completing two European tours, numerous Australian shows and playing at Dig It Up Festival in 2012. Their last trip to Europe saw influential Spanish magazine Ruta 66 declare them "best international live act" for that year. Their Paris show was also a traffic stopper, literally, playing to a clogged street full of ecstatic rock fans for the annual Fête de la Musique. With a line-up that consists of founding member and vocalist Rob Younger (Radio Birdman) alongside longtime members Jim Dickson (bass), Dave Kettley (guitar) and Brent Williams (keyboards/ guitar), "Incantations" is the first recorded material featuring drummer Paul Larsen Loughhead. Originally borrowed from the Celibate Rifles for The New Christs European tour in 2011, he has now become a full-time member of the band. The New Christs are now ready to take "Incantations" to the stage with a European tour booked for June and July. Record Label: Impedance Style: Rock

Style: Metal

A haunting soundtrack to a short movie by Mat McNerney (Hexvessel/Beastmilk) and Kimmo Helén (Hexvessel), inspired by Newfoundland Folk and the Canadian wilderness. "We researched a lot into Newfoundland and traditional folk music of the past and today, spending a few months looking into and listening to libraries of collected works. I was surprised at how much it reminded me of the Celtic music of my Irish upbringing and ancestry and felt immediate connection to it and an instant ability to relate to the stories. Together with the multi-talented craftsman Kimmo Helén we set about creating a soundscape using only traditional instruments that would have been used in Newfoundland folk. We worked to try to open a portal to dream, nostalgia, a deeper yearning for our roots and the joy that comes from finding your place in the universe. We hoped to be able to help tell Justin's story in as humble and honest way we could and to find a musical voice to his character's inner emotions and journey." Style: Metal

Marc Houle is back with his latest full-length album entitled "Cola Party" on his own Items & Things imprint. The album contains 9 tracks, with the main singles being "Cola Party" and "I Don’t Wanna Know About You". "Cola Party", the lead track of the album, sets the scene with Houle’s textbook pitched down vocals weaving through tightly programmed drum patterns and heavy low frequencies. "I Don’t Wanna Know About You" is a late-night jam whose pulsating lead synth and effortlessly catchy main vocal hook make it one of the more upbeat tracks of the album. "Cola Party" comes as a long-awaited follow up to Houle’s well-received 2012 LP "Undercover". As an album, it contains all the elements fans and followers have grown to love with every Marc Houle release; his signature take on techno and jacking minimalistic-funk shines through from start to finish. If anything, the album is a clear example that Houle is still at the top of his game after more than 10 years in the business. Record Label: Items & Things Style: Techno/House

Style: Metal

Style: Metal

In the space of three years, Dutch producer Krampfhaft has established himself as one to watch with a small string of functional yet emotive dancefloor releases that have garnered support and acclaim from a broad range of contemporaries including The Gaslamp Killer, Om Unit, DJ Shadow and Kutmah. He returns to the Rwina label with Before We Leave, his debut album and most complete statement to date. ! Once more pulling from the twin roots of electronic/dance music and sound design that have defined his work to date, Krampfhaft sidesteps genre specific formulas on Before We Leave and instead rides a fine line between dancefloor and headspace. There are hard hitting moments and ecstatic peaks, but these are carefully balanced with more introspective, melodic reflections designed to give the listener an experience that isn't limited to the club. Before We Leave is just as driven by atmospheres and imagined sonic places as it is by the desire to make people dance. ! This juxtaposition of the dancefloor and headspace is reflected in the album's tracklist and how the 16 tracks flow across its length. There's a real magic to pulling off an album of dance/electronic music that isn't obsessed with the dance floor or instantly recognisable tropes, and this is precisely what Krampfhaft achieves with Before We Leave. Keen to not find himself trapped in the corner of a specific sound, he instead opts to paint a broad picture that treats the listener as more than just a body in the dance. At times hopeful and introspective and at other times dark and obsessive, Before We Leave is the sound of a producer in full control. Record Label: Rwina Style: Electro

Record Label: Compost Style: House

Record Label: Domino Recording Co Ltd Style: Electronic

Formed in 2010 with a line-up completed by drummer Bill Bowman (formerly of Zodiac Killers, Blackqueen, and Scrog) HORNSS have taken to the stage in support of Fatso Jetson, NAAM, Windhand, YOB, and The Freeks. Unlike some who are content to adopt the desert sound, San Franciscan trio HORNSS were born into it. Moulded by it from the very beginning in the case of members Mike Moracha and Nick Nava, who originally got their start in the Palm Springs band Solarfeast alongside ex-KYUSS/Evolution's End member, Chris Cockrell. Recorded at Earhammer Studios in Oakland with Greg Wilkinson, the album draws on influences such as Hawkwind, Saint Vitus, and The Ramones. HORNSS deliver devastating doom, death punk fury, stoned out meanderings, and crushing desert progressions that will strike a chord no matter where your allegiances lie. The band are youring Europe in late August, early September 2014 Record Label: Easy Rider Style: Stoner Rock

Previously unreleased recordings, All tracks newly re-mastered from original tapes, LP housed in a deluxe Stoughton "Tip-On" gatefold jacket, Liner notes by Jack D. Fleischer, interviewing Donnie & Joe, LP includes download card. Some people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own. As teenagers in Fruitland, Washington in the late 70s, the farming brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but the brothers aimed at nothing short of perfection in their home studio on the farm. They titled their 1979 debut "Dreamin' Wild", and, as multi-instrumentalist Donnie later admitted, "Joe and I basically lived the dream of the title of the album." The same goes for their parents who heavily believed in their sons' musical dreams, taking out a second mortgage on the farm and investing $100,000 in a dream that refused to die. But their privately funded, private press record sank without trace, the family lost most of their 1,600 acre farm, and as Joe focused on the family farming business, Donnie focused on his solo career. As for "Dreamin' Wild", things began to change three decades later, when record collector Jack Fleischer bought a copy of the album for $5 at a Spokane thrift shop. Something about the brothers' smiles, bouffant hair, and matching white jumpsuits gave him a good feeling. Fleischer's blogging about the album brought it to the attention of cult musician Ariel Pink, who recorded his own version of standout track "Baby." Eventually re-released on Light In The Attic and widely available for the first time, the album chimed louder a lifetime after its conception: Pitchfork described it as a "a godlike symphony to teen hood." The New York Times flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo. But "Dreamin' Wild" does not tell the full story. In a relatively short span of time - just two and half years - the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on "Still Dreamin' Wild: The Lost Recordings 1979-81" and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded ("Everybody Knows It") - to tracks documenting his temporary move to L.A. in 1981. Donnie's life story is in these songs. Where "Dreamin' Wild" captures the teenage experience, "Still Dreamin' Wild" tells a broader story, one in which teenage dreams turn to painful yearning. So where the Beach Boys indebted "Ooh Baby Yeah" is inspired by a teenage girlfriend, "Big Money" shows the emergence of a naive political awareness. Later, 1981's "One True Love" captures the sound of what Donnie described as "the city as imagined from the farm," and the epic closing track, "Don't Disguise The Way You Feel" found Donnie after high school, feeling stifled and frustrated in the isolation of the countryside and mourning the loss of his friend and occasional backing vocalist Dwayne. It is, quite simply, heartbreaking. The long-belated success of "Dreamin' Wild" has given the Emerson brothers - still close, and still the heart of a loving family - a new lease of life. They've finally taken their music on the road, performing at Seattle's Showbox followed by New York's Mercury Lounge. "Still Dreamin' Wild" proves that the album wasn't a fluke, and that Donnie's songwriting is as consistent as it is rare. All this time later, we finally have the pleasure of hearing the brothers' music. And the good news? They've still got the jumpsuits. Record Label: Lightintheattic Style: Pop

Four dedicated scenesters teams together and gives us the most splendid emo-rock possible! David and Thomas used to playtogether in Meleeh and Daniel played the drums in In Ruins Of, all from the same depressive working class city region in Sweden (Gävle/ Sandviken) where the alternative music scene from time to time have been an flourishing element as a counterpart to the everyday life and distress. You can easily hear the so called "Gävle sound" in Crooked Letter's music, and of course (some of our favorite) several mid/ late 90's emo-rock bands.This is what the band has to say: We’ve always had the dream of starting a band influenced by the local scene of the nineties. It was a time when hardcore and punkrock really flourished in our town in the northern parts of Sweden. We were teenagers back then, starting bands, releasing tapes and setting up shows. A time of searching for an identity and pushing forward. A time of finding out that you can do things by yourself. The bands that came out of our little east coast town could really write powerful songs with great melodies. ”The Gefle sound” is something that still pops up at punkrock shows in Europe when bands are described in flyers and posters. That is honorable to see and Crooked Letter is a creation nurtured from that scene. It took us 18 years. This is our contribution… Record Label: Black Star Foundation Style: Punk/Hardcore

Record Label: Dsr Sas Style: Electronic

Record Label: Van Records Style: Metal

After the foundations for his new chapter of productions solidified, with Figure 53 welcoming him to the Figure camp, Cleric now continues to build on his raw yet sharp and accurately cut techno sound. This varied 4 tracker shows off the British producer' Record Label: Figure Style: Techno

SFLD011 sees Skyboy and Andrea Di Rocco joining forces to bring you ‘A Space Walk With Ennio’. With Skyboy’s previous releases on labels such as Clap Your Hands, and Andreaon Alex Niggemann’s AEON imprint, the two Italian producers have garnered great a Record Label: Soulfooled Style: Tech-House

Record Label: Dsr Sas Style: Independent

Artist: Joywave Label: Hollywood Records

Artist: Meek Is Murder Label: Granite House

Artist: Karl Hector & Malcouns Label: Now Again