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B Boys [Dudu]

July 26 street date. New York's B Boys find inspiration in the chaos that surrounds them: the aggressive attitude and sonic lawlessness of the city they live, work, and breathe in every day. Their raw, yet meticulous style is characterized by rhythmic complexity, commanding riffs, and introspective lyrics that are as playful and self-aware as they are cutting. Across their two acclaimed releases on Captured Tracks - 2016's "No Worry No Mind" EP and 2017's debut full-length "Dada" - B Boys explore solitude and self-reflection through sharp, high-energy shouts and melodic mediations. Now, the sprightly sarcasm and acerbic commentary continues on the band’s highly anticipated sophomore LP, "Dudu". Influenced by The Clash, Wire, and Talking Heads, "Dudu" finds B Boys picking up where they left off, pondering quotidien grievances while examining the bigger picture.
Barrett, Pastor T.L. & The Youth For Christ Choir [Do Not Pass Me By (silver vinyl)]

August 9 street date. Limited silver vinyl edition. The sequel to Pastor Barrett's landmark 1971 masterpiece "Like A Ship, Do Not Pass Me By" finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett's unwavering devotion dance around a 40-piece choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, "Do Not Pass Me By" was sold primarily from the pulpit of Barrett's Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero's excavation. The ten-song album has been remastered, and its generic album cover updated to match Barrett's vision.
Blanck Mass [Animated Violence Mild]

August 16 street date. Fourth full-length under the Blanck Mass moniker by Benjamin John Power (Fuck Buttons). "Animated Violence Mild" was written throughout 2018, at Blanck Mass' studio outside of Edinburgh. "These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it. I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated - brought to life by humankind. Violent - insurmountable and wild beyond our control. Mild - delicious." - Benjamin John Power.
Bon Iver [i,i]

August 30 street date. "i,i" is Bon Iver's most expansive, joyful and generous album to date. If "For Emma, Forever Ago" was the crisp, heart-strung isolation of a northern Winter; "Bon Iver" the rise and whirr of burgeoning Spring; and "22, A Million", a blistering, "crazy energy" Summer record, "i,i" completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known - multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver's fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on "i,i" that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak's Jenn Wasner and the Brooklyn Youth Chorus. Here, the music - and band, and themes, and creative space - are bigger than ever.
Follakzoid [I (2LP)]

August 2 street date. The long-awaited fourth full-length by Föllakzoid isn’t merely a recalibration for the band. It is a multidimensional reconsideration of what the process of songwriting, performance, and creating a work of recorded music can be. Föllakzoid grows via depuration, aiming with each record to fill longer spaces of time with fewer and fewer elements. The creative perspective of the band has always been about unlearning the narrative and musical knowledge that shape the physical and digital formats and conceptions available, both visually and musically in order to make a time-space metric structure that dissolves both the author and the narrative paradigms. Unlike past Föllakzoid records, that were done in single takes with the full band, this record took three months to construct out of more than 60 separate stems - guitars, bass, drums, synthesizers, and vocals, all recorded in isolation. Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines. The result of this was a set of songs where neither the band's, nor the producer's, structural vision primarily shaped the metric or tonal space shifts, but where both were still subliminally present in each of the parts that form the structure and the frequency modulations that guide them.
Good Riddance [Thoughts And Prayers]

July 26 street date (date change). For more than 25 years, Good Riddance has written tuneful punk anthems that take on injustice in all forms, and that spirit carries through to their brand new album "Thoughts And Prayers", their second album since reforming in 2012. As a voice of resistance through four presidential administrations, Good Riddance seems well-suited for these fraught times - but don't expect a bunch of obvious anti-45 screeds. Produced and mixed once again by Bill Stevenson and Jason Livermore - who've helmed every Good RIddance album since 1999's "Operation Phoenix" - "Thoughts and Prayers boasts the band's signature sound of highly melodic, fast-paced punk. Good Riddance may not have changed the world in their lengthy triumphant career, but their impact is apparent through the social awareness and political action of their many many thousands of passionate fans. $.50 from each sale of "Thoughts And Prayers" will be donated to the Second Harvest Food Bank and Never Again MSD.
Have Mercy [The Love Life]

August 2 street date. Baltimore natives Have Mercy are back with their newest album The Love Life set for release on August 2nd. Awash in textured instrumentation, The Love Life finds the pair exploring the negative space in Have Mercy’s music like never before. From the droning, delicate “Dressed Down” to the nostalgic look back “Mattress on the Floor” and first single “Clair,” which marries propulsive melodies with staccato strings and drum machines, The Love Life pulls from all eras of the band’s career while simultaneously writing a new one—deftly balancing the confidence Swindle and Gleason have grown into as songwriters and retaining the sense of wide-eyed spontaneity that colored Have Mercy’s early work. For Fans Of: Real Friends, Sorority Noise, Manchester Orchestra.
Hot Water Music [Shake Up the Shadows (EP)]

August 16 street date. Hot Water Music. Those three words describe more than just a band at this point, they describe a way of life. Since forming in Florida in 1994, the act have constantly reinvented themselves by combining elements of punk rock and post-hardcore over the course of eight full-lengths, countless vinyl releases and energetic live shows. However instead of taking a victory lap in celebration of their current 25th anniversary tour –group marked the occasion by recording five new songs for the Shake Up The Shadows EP, which sees the band – guitarist/vocalists Chuck Ragan and Chris Wollard, bassist Jason Black and drummer George Rebelo – crafting some of the most impassioned music of their career. “Celebrating our 25th anniversary isn’t self-congratulatory,” Ragan summarizes. “It’s the band saying, ‘Look at what all of us built and let’s celebrate that.’”
Ikebe Shakedown [Kings Left Behind]

August 16 street date. Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of '70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, "Kings Left Behind", the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination.
Joyero [Release the Dogs]

August 23 street date. Written and recorded primarily in Marfa, Texas, during a transitional moment between records, cities, and relationships, Release the Dogs occupies it's own liminal space between the natural and the man-made, between the structures we create to keep ourselves safe and the terrifying enormity that exists beyond them. Throughout the record, organic and electronic elements are seamlessly woven together into a single fabric that can be both intimate and explosive. The fingerpicked guitars of "After You" appear no more or less "real" than the processed drum machine beats on album opener "Alight," just as the tarantula on the album's cover appears no more or less "real" than the white wall on which it sits. The magic of the image, and the magic of the record, is in the way they are framed together. Release the Dogs finds it's own unique voice by holding opposing ideas and aesthetics in tension with each other, and inviting the listener to find their own answer.
Loscil [Equivalents]

August 16 street date. Canadian composer Scott Morgan’s 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay. It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space. The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor. The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman. The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid. Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018.
Oh Sees [Face Stabber (2LP)]

August 16 street date. Hey there, human kids, lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies—the latest Oh Sees, Face Stabber! Boop, blip, ughhh….people churning like a boiling swamp. Man, this din is nauseating. The screen flickers for the first time this year with a transmission from two months in the future: “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!” This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf. No songs about money or love are floating in the ether. Just memories, echoes, foggy blurs, blip-blop goes the scope, heavy funk, dystopia-punk canons, long jams, bloated solos dribbling down your caved-in chest. Human cattle like a beef avalanche, right on your burned out face hole. Spider-legs fuzz crawling in your brain. Lots of curse words for your mom. You’ve gotten the over-population blues, so let’s have some art for art’s sake. What else are you gonna do? Stare at the sky? Please…fifty carbon copies of you look back at you as you walk the streets. Take a breath, you’re going to need it. Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough. There’s no fruit, buddy. You’re at the bleak-peak. They will squeeze you till you’re all squeezed out. (For fans of fried prog burn-out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings. If you don’t like it then don’t listen, bub. Back to the comments section with you! Easy—over and out.)
Redd Kross [Beyond the Door]

August 23 street date. Redd Kross invite you to explore Beyond the Door, an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “the Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge. Beyond the Door marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer.
Saxon [The Eagle Has Landed 40 Live (3CD)]

August 2 street date. Saxon Celebrate Four Dominant Metal Decades With ‘The Eagle Has Landed 40 (Live)’. On August 2nd, British heavy metal legends will release their live 40th anniversary celebration The Eagle Has Landed 40 (Live) through Silver Lining Music. Featuring 40 of the band’s most iconic tracks spanning their entire career thus-far, the selection was personally curated by front man and founder Biff Byford, who selected the best live performances from an array of international shows over the last twelve years. From “State of Grace” to “Machine Gun” to “20,000 Ft”, The Eagle Has Landed 40 (Live) is Saxon at their loudest, proudest and definitive best, delivering a full-blooded journey through the songs which have established them as vanguards of heavy metal music. The album will be released in the following formats: Triple CD packed in a 6 panels digipack with a 16 pg booklet, 12” lid-off Boxset, containing 5 x 12” 180 gms vinyl, The Eagle Has Landed 40 (Live) Tour Pass and Slipmat and an exclusive 40 page book & Digital Download.
Segall, Ty [First Taste]

August 2 street date. "First Taste" is an introspective set after the extroversions of "Freedom’s Goblin" - yet just as steeped in party beats somehow, even as Ty trails through his back pages, reflecting on family, re-encountering pasts, anticipating futures. This production is INSANE, far-out, stranger than known, tones and rhythms that expand before our ears. "First Taste" is arch, full of high-energy jams, with a thing in each mix always insistently different. Ty's song design is all over the place - not even a surprise anymore - but unlike the freewheeling feast style of "Freedom's Goblin", these twelve numbers form a tightly revolving cycle of song and sound that focuses thoughts.
Shura [forevher]

August 16 street date. When Shura started work on ‘forevher’, she did so at her most tired and homesick, setting up shop in Minneapolis at the close of a two-year tour cycle for her debut album, ‘Nothing’s Real’. It was in Minneapolis that Shura began talking to her current girlfriend online. ‘forevher,’ then, is a record born from a budding romance, covering everything from the initial pull of desire, to the giddy joy of finally being together, to recognising the moment when the connection develops from lust into something scarily meaningful. Whilst how to live - and love - as a queer woman has always been integral to Shura, it's remarkable to hear these stories twisted through such a gorgeous amalgam of influences: Joni Mitchell and Minnie Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through these inspirations, Shura’s own modern, outlier perspective found a newer, more daring approach to sound and song.
Strung Out [Songs Of Armor And Devotion]

August 9 street date. For anyone who has listened to punk rock over the past couple decades, Strung Out needs no introduction. Their signature brand of intense, frenetic, metal-influenced punk has elevated them to elite status and played a significant role in redefining the genre. If you listened to their new album "Songs of Armor and Devotion" with no prior knowledge of Strung Out, you probably wouldn't guess that the California band has been together for almost 30 years - such is the intensity and fresh energy of these 13 songs. Produced by Cameron Webb, it's a record that brims with the same ferocious fire the band had at the very start of its career, but which also demonstrates how far the California five-piece have evolved as songwriters, musicians and people.
Suicide [Suicide (red vinyl)]

July 26 street date. Mute / BMG announce the definitive reissue of Suicide’s genuinely classic and highly influential eponymous debut album. As part of the Art Of The Album series, the album has been re-mastered in 2019 and re-issued on CD & Vinyl. The hardback CD and 140g red vinyl packages include exclusive photographs and extensive sleeve notes by The Quietus’ John Doran exploring the impact of the band through “The Times,” “The Key Players,” “The Song Writing,” “The Production,” “The Impact” and “The Legacy.” Although the band barely received any credit at the time, Suicide (vocals: Alan Vega and electronics: Martin Rev) were inspirational for numerous synth pop bands throughout the 80’s. Having originally formed in 1970, Suicide lay dormant for several years before they re-emerged in 1976 at the heart of the punk scene centered on CBGB's club in New York where the likes of The Ramones, Patti Smith and Television also found initial recognition. Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. Suicide's influence was immediately seen in the rise of bands like Soft Cell, Depeche Mode and The Jesus And Mary Chain. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3 / Spiritualized), Lydia Lunch, Bobby Gillespie, Nik Void of Factory Floor and Savages as fans.
Suicide [Suicide (Hard Bookpack packaging)]

July 26 street date. Mute / BMG announce the definitive reissue of Suicide’s genuinely classic and highly influential eponymous debut album. As part of the Art Of The Album series, the album has been re-mastered in 2019 and re-issued on CD & Vinyl. The hardback CD and 140g red vinyl packages include exclusive photographs and extensive sleeve notes by The Quietus’ John Doran exploring the impact of the band through “The Times,” “The Key Players,” “The Song Writing,” “The Production,” “The Impact” and “The Legacy.” Although the band barely received any credit at the time, Suicide (vocals: Alan Vega and electronics: Martin Rev) were inspirational for numerous synth pop bands throughout the 80’s. Having originally formed in 1970, Suicide lay dormant for several years before they re-emerged in 1976 at the heart of the punk scene centered on CBGB's club in New York where the likes of The Ramones, Patti Smith and Television also found initial recognition. Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. Suicide's influence was immediately seen in the rise of bands like Soft Cell, Depeche Mode and The Jesus And Mary Chain. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3 / Spiritualized), Lydia Lunch, Bobby Gillespie, Nik Void of Factory Floor and Savages as fans.
Sum 41 [Order In Decline]

July 19 street date. Grammy nominated rock band Sum 41 is back and bigger than ever with their seventh studio album Order In Decline. Written, produced, mixed, and engineered by frontman Deryck Whibley, Order In Decline is a burst of uninhibited feeling, a page out of his journal, a window into his soul that reflects on extremely personal and vulnerable events. The album is undoubtedly Sum 41’s heaviest and most aggressive album in their storied career, while also being its most dynamic and raw. For Fans Of: The Used, The Offspring, Blink 182, Good Charlotte Touring Highlights: Headlining the “No Personal Space” tour from April to May of 2019. Also on the Rockstar Energy Disrupt Festival lineup from June to July of 2019. Playing Toronto, headlining at Echo Beach on August 08th and playing Rock La Cauze Festival in Victoriaville, QC on August 10th. First single “Out For Blood” being worked on by RPM Promotions in Canada for Radio at Active Rock and Alternative stations.
Tomb Mold [Planetary Clairvoyance]

July 19 street date. (Hugely anticipated third album from Toronto death metal band follows widely praised album from last year. First vinyl press comes w/ bonus gatefold insert with additional artwork) Recklessly devouring the world into a vortex of alternate dimensional planes with Manor Of Infinite Forms, Tomb Mold has crashed through boundaries with the impact of an ocean-sized asteroid. Somewhere between outer space, inner space and the unseen dark matter in between all space, they’ve devised an alchemical formula both crushingly oppressive and rapidly expanding outward in every direction. Waking from stasis for the third time in three years, their new record Planetary Clairvoyance is the sum total of knowledge gained and aeons absorbed, concentrated into a single massive tome of arcane wisdom and implausible physics. Like the album’s cover art, it exists in a domain of alien anatomical abnormality, malign flora and cold void desolation, warping and deforming the familiar into unknown obscurity. Tracked in Canada and then mixed and mastered by Arthur Rizk once again, the amalgamation of the huge sound of Manor Of Infinite Forms and the gritty particle chaos of Primordial Malignity come into boundless unity on this latest. With the explosive weight of a collapsing black hole, Tomb Mold accelerate unhinged toward infinite resurrection.
V/A [Optimism/Reject (4CD): Punk & Post-Punk Meet DIY Aesthetic 1977-1981]

July 26 street date. The highly anticipated companion to 2017's "To The Outside Of Everything"! In the wake of punk, musicians in the UK found themselves suddenly liberated artistically and free to think in new terms commercially. The outcome was the independent label boom, and beyond that a certain Do It Yourself aesthetic. Overnight, the possibility arose of recording your own music and releasing your own record, or, if you weren’t musical yourself, setting up your own label to release records by people who were. Enabled by a new independent distribution network, classified ads in Britain's music press and the enthusiasm of record shop owners countrywide, a new kind of musician leapt into the spotlight, free of the shackles of commercial aspirations and the conformist musical approaches they necessitated. New sounds were delivered every week, pressed onto cheaply produced 7" singles and ambitious compilations by bedroom based labels. Among the photocopied sleeves and inserts, hand-stamped labels and SAE addresses, not to mention the eclectic range of sounds they accompanied, a common ground appeared: it didn’t matter what you did, so long as you did it yourself. "Optimism/Reject" captures a snapshot of that time and place. From scratchy lo-fi guitar pop to ambitious home productions and experimental meanderings, this is the sound of an underworld beneath the underground. A place so far from the mainstream only those with a keen imagination figured out how to get there. 4 CD's, with over a hundred self-released missives, lo-fi manifestos, boutique label offerings, and expressions from the edge of punk and the post-punk explosion. Features classics, rarities and unearthed gems from The Fall, Subway Sect, Sisters Of Mercy, The Raincoats, Young Marble Giants, John Cooper Clarke, and many, many more!
V/A [Come On Let's Go!: Power Pop Gems From the 70s & 80s]

August 2 street date. "Power pop is what we play", declared Pete Townshend in a 1967 interview to promote the Who's ‘Pictures Of Lily’. Although the term power pop did not gain much traction at the time, it re-emerged at the beginning of the 70s after the Beatles had dissolved and music began to fracture into various camps. In the USA, bands that remained true to the Beatles tradition began to be referred to as power pop. The Raspberries set the ball rolling in 1972, and young bands began to spring up who really only wanted to sing about girls and having a good time on Saturday night. 24 tracks, including songs by The Dwight Twilley Band, The Flamin' Groovies, Van Duren & Jody Stephens, Big Star, Shoes, 20/20, and many more.

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