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Battle of Santiago [La Migra]

May 5 street date. Toronto-based group the Battle of Santiago combines classic Afro-Cuban rhythms and vocals with a distinctly Canadian postrock spirit and sensibility. The band’s upcoming release La Migra dives deep into Afro-Cuban waters, mixing Afro-Cuban Yoruba chants with subtle electronica and rumbas with post-rock experimentalism. The sound is more than just Radiohead meets Irakere, there’s some cumbia tinged with dub anthemic Latin rock and even some smooth funk. CBC music has confirmed it will be doing an exclusive First Play - this section of their website typically gets 1 million page visits per day. The release is starting to receive radio play in Canada on College radio and on CBC as well as internationally. The release is debuting on the Top 30 charts in Canada in various markets which is great!
Bird, Andrew [Mysterious Production of Eggs]

Available now. The third album of Andrew Bird's solo career released in 2005, following his Weather Systems in 2003 (also available from RED). "Fake Palindromes" was listed as the 331st best song of the 2000s by Pitchfork, who also placed the album at number 181 on their list of top 200 albums of the 2000s. This album has sold nearly 100K copies in the US alone. Originally released on Rightous Babe, and now available on the artists own label, Wegawam.
Bonnie Prince Billy [Best Troubador (2LP)]

May 5 street date. With Best Troubador, Bonnie ‘Prince Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle’s body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however — and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize, and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over — from Haggard’s third album in 1967 though to his 47th in 2011 — but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Dedicated to new life and old, Best Troubador is wistful and bittersweet and no lament at all,v but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it.
Chilton, Alex [Take Me Home And Make Me Like It (180g)]

May 19 street date. 180 gram vinyl. In 1975 Alex Chilton went into the Ardent Recording Studios with producer Jon Tiven and out of some tumultuous recording sessions came a number of loose and unpolished gems which would ultimately become the “Singer Not The Song” EP and “Bach’s Bottom” album. “Take Me Home And Make Me Like It” is a raw document of one of the pivotal moments in Alex Chilton’s career. It features previously unreleased rehearsals and alternate takes that tell the story of a troubled recording process that nevertheless produced intensely unique music. "This is music performed with some of the most callous abandon ever to have been allowed in a recording studio. Many of these tracks have a raw cinéma vérité atmosphere applied to recorded rock and roll. My own performances seem to be either obnoxious or attempting an insufferable cuteness, but often they achieve a compelling electricity in their spontaneous excitement. We recorded over a few days in the fall of 1975. I was very into a loose, unrehearsed first take sort of approach to recording music. I learned from producer Jim Dickinson the method of throwing a very impromptu rendering of a song onto tape. With multitrack recording one can edit out, clarify or fix anything before the final mixdown. This method gives a fresh, sometimes anarchistic quality to the performances. The first day of the sessions was approached in this way. The second day went according to the producer’s more conservative method of planning and rehearsal. All in all there is some hot, untamed rock and roll on this disc. You might get a kick out of the off the wall energy of this music that is very hard to find on records from this or any other time." - Alex Chilton, 1992
Cindy Lee [Malenkost (Incl. Download)]

May 5 street date. Cindy Lee is the brainchild of singer/guitarist Patrick Flegel. While some may know Flegel from his time spent in Canadian experimental indie band Women, Cindy Lee has spent the past four years crafting songs that push and pull in opposing directions – from tales of tragedy laced with haywire distortion to moments of breathtaking beauty. On Malenkost, Flegel combines everything that makes Cindy Lee so essential: heart-wrenching romantic pleas, rough shards of noise and twilit ballads. Featuring the lo-fi pop single “A Message From The Aching Sky,” Malenkost sounds like Deerhunter playing The Supremes or vice versa. Superior Viaduct’s imprint W.25TH presents the first of many Cindy Lee releases. Spectral and timeless, the music of Cindy Lee is hauntingly familiar yet of another plane, a magical collision of Brill Building hooks and uncompromising No Wave. “Cindy Lee is intensely dark and cathartic, an eerie fever dream of fleeting, utterly heartbreaking classic girl-group melodies … one of the best things we have heard all year.” —Gorilla Vs. Bear
Cock Sparrer [Forever (180g/Download)]

May 5 street date. For many, this band needs no introduction, as they are indeed legends in a vibrant scene stretching across the world. This full-length, their sixth, in 45 years as a band, truly exemplifies how incredible and how special this band is. One would assume that this is the last full-length that we will see from these legends; and a fitting one it is indeed. Vinyl version includes digital download.
Coltrane, John & Alice [Cosmic Music]

May 19 street date. First time reissued with its original cover. Featuring Pharoah Sanders, Jimmy Garrison and Rashied Ali! John Coltrane transformed the inner architecture of jazz, throughout the mid-1950s and 1960s and long after his premature death at age 40 in 1967. No other American musician could be said to be at the spiritual center of the ‘60s musical universe as Trane influenced Albert Ayler, La Monte Young, Jimi Hendrix and everybody in between. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks (“Manifestation” and “Rev. King”) by John Coltrane’s legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more (“Lord Help Me To Be” and “The Sun”) from Alice Coltrane’s very first session as a bandleader, recorded six months after her husband’s passing. “Manifestation” opens with the group already in mid-flight: Trane’s fierce tenor leads the way with Pharoah Sanders’ blistering sax and Alice’s powerful chords hearing his call. On “Rev. King,” Trane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison’s bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, “Lord Help Me To Be” brings Alice’s celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. “The Sun,” a meditative ballad with subtle urgency, perfectly closes the album’s contemplative circle. As John Coltrane recites on the final track, “May there be peace and love and perfection throughout all creation.”
Dangerdoom [The Mouse and the Mask: Official Metalface Version (3LP)]

May 5 street date. Back in 2005, super producer Danger Mouse and masked hip hop supervillain DOOM came together for The Mouse And The Mask, a collaborative album released under the name DANGERDOOM. Among DOOM’s most successful projects both critically and commercially, the album was inspired by Cartoon Network’s latenight Adult Swim programming slate, and includes appearances from several Adult Swim characters, including Aqua Teen Hunger Force, Space Ghost, Harvey Birdman, and more. The full 7-track 2006 DANGERDOOM EP Occult Hymn is included, as well as two previously unreleased tracks, making this the definitive DANGERDOOM collection.
Descendents [Everything Sucks (LP+7"/20th anniversary)]

May 5 street date. To celebrate the 20th anniversary of this special release in our history, Epitaph Records is proud to present the deluxe 20th Anniversary edition of DESCENDENTS - Everything Sucks. This remastered edition is a vinyl lover’s dream; pressed on 180 gram vinyl and including a 7” with 2 unreleased bonus tracks. The packaging features deluxe embossed cover art which features the beloved Milo cartoon. This album marked a reunion for the band back in 1996 with the line- up that has remained solid ever since, featuring singer Milo Aukerman, drummer Bill Stevenson, bassist Karl Alvarez and guitarist Stephen Egerton. Everything Sucks features punk classics, “I’m The One” and “Everything Sux.”
Frenzal Rhomb [Hi-Vis High Tea]

May 26 street date. After two and half decades, 8 studio albums, and their recent greatest hits record We Lived Like Kings; it is safe to say that FRENZAL RHOMB are Australian Punk royalty. Now, with “most hospitalized band in the world” (broken arms, detached retinas, tapeworms in the brain…) added to their resume, nothing can slow these Aussies down. For Hi-Vis High Tea, FRENZAL RHOMB pulled out all the stops, and returned to the unswerving Bill Stevenson and Jason Livermore at the Blasting Room to create 20 blistering tracks clocking in at just over 30 minutes. From the opening track “Classic Pervert” to “Don’t Cast Aspergers on Me” and “Sneeze Guard”; Hi-Vis High Tea takes Frenzal fans on a familiar ride which only FRENZAL RHOMB could operate. With loads of touring lined up, and the bumps and bruises all healed, 2017 looks to be a big year for FRENZAL RHOMB! Hi-Vis High Tea, their first new record since 2011, is sure to have FRENZAL RHOMB fans far and wide clamoring to get their fix.
Fucked Up [Live At Third Man Records]

May 19 street date. The day has finally come for Fucked Up's awesome Live at Third Man LP to grace your turntable. "Was it in production for 2 years?" you may ask. 100% yes. It took multiple re-cuts of the Fucked Up test pressings to contain this explosive sonic boom of a live show. As usual, we make it well worth your hard-earned dollars, pesos, yen, euros, etc. DO NOT SLEEP ON THIS.
Full Of Hell [Trumpeting Ecstasy (Ltd)]

May 5 street date. Maryland / Pennsylvania experimental death-noise band Full Of Hell have embarked on quite the journey leading up to the their latest full-length album Trumpeting Ecstasy, their most punishing, virulent, and dynamic work to date. The embryonic beginnings of Full of Hell displayed their palette at its most primitive: d-beat and blast-ridden hardcore punk, with spats of noise and caustic rhythm. After the release of their Profound Lore Records debut Full Of Hell & Merzbow in late 2014, their third full-length album, the band began to truly come into their own, combining elements of their previous sound with grindcore, death / black metal, sonically laden power electronics and industrial pounding. The band followed this up with a direct collaboration album with The Body and several EPs, one of them being their most-recent split 7-inch with Nails (which debuted on #2 on the Billboard Top 100 Singles Chart). The band builds upon their Merzbow collaboration and the releases succeeding it with this latest—going into God City Studios with Kurt Ballou at the production helm, the result is their best and strongest. Sky tearing and sonically cataclysmic, this aural deluge also features guest appearances by Aaron Turner (Sumac / Old Man Gloom / Mamiffer / Isis), Nate Newton (Converge / Old Man Gloom), Andrew Nolan (Column Of Heaven / The Endless Blockade), and Canadian singer/songwriter Nicole Dollanganger.
Garden [U Want the Scoop? EP]

May 5 street date. Orange County twin duo The Garden have a new EP U Want The Scoop? is out now on Epitaph. Representing a youthful punk scene in California with their dirty, raw and immediate two-piece bass and drum attack and produced by Rob Schnapf (Joyce Manor, Elliott Smith, Beck,) U Want the Scoop? follows the band’s 2015 album Haha. Established in 2011, the duo - AKA Wyatt and Fletcher Shears - created the term "Vada Vada" to represent their music and other creations. The term represents total freedom of expression without boundaries or guidelines of any sort. “Why strive to be a part of a scene when you can create your own? Vada Vada is an alternative reality that we put ourselves into so we don’t have to fit in” explains Wyatt.
Girlpool [Powerplant]

May 12 street date. (LP version includes download) Life has been a whirl for Girlpool since the release of their acclaimed 2015 debut Before the World Was Big. Shortly before the record came out, Harmony Tividad and Cleo Tucker relocated from their hometown of Los Angeles all the way across the country to Philadelphia, where they quickly became embedded in the local D.I.Y. scene. Girlpool made their mark with a spare, simple sound — two guitars and two voices, with absolutely nothing else accompanying them. It was an original, intimate sound, and it made the two sound like they were united against the rest of the world. But on their new album, Powerplant, they’re trying something else. They’re playing with a full band. Over 10 days in August 2016, Girlpool holed up at Los Angeles’ comp-ny studios to record and mix Powerplant with Drew Fischer. For the first time, Harmony and Cleo were joined by a third performer, drummer Miles Wintner, a friend who easily meshed with the tightknit duo. The 12 tracks that compose Powerplant grow and burn with greater fire than the duo have possessed heretofore. Both bandmates were heavily inspired by Elliott Smith, the Cranberries, the Cocteau Twins, Brian Eno, Arthur Russell, and Graham Nash; the influence of each appear in the record’s deliberate and intricate guitar work (“Fast Dust,” “She Goes By”) as well as its embrace of dissonant noise (“Corner Store,” “Soup”). Perhaps what really makes Powerplant a home run is that Girlpool understand exactly how to use their incisive lyrics, soft textures, hushed harmonies, and soaring hooks for maximum emotional impact. In these moments, when Harmony and Cleo’s voices join together to deliver transcendent transmissions straight from their hearts, Girlpool become a league of their own. (For fans of Frankie Cosmos, Elliott Smith, Alex G. and Wilco) “When Harmony Tividad and Cleo Tucker harmonize, it’s like a lightning bolt to the gut.” – NPR // “Rock music still matters, and Girlpool is its future” - Fader
J Dilla [Jay Dee AKA King Dilla]

May 19 street date. The mark that the late producer J Dilla left upon hip-hop during the 90s and early-to-mid 00s is undeniable. His work with De La Soul, Busta Rhymes, The Pharcyde, and of course Slum Village long been cemented his prominence in the annals of hip-hop history. Of the many words one can use to describe J Dilla’s legacy, one that’s not used enough is prolific. Dilla made beats constantly. So new Dilla compositions are still being discovered. One of the places where those works are still being unearthed is the archives of the Ne’Astra Music Group, who proudly present here 8 Dilla tracks previously unissued on vinyl. Dilla’s legacy continues to be shared and celebrated by today’s hip-hop audience – with help from the tireless efforts of Ne'Astra.
Jackson, Jade [Gilded]

May 19 street date. Gilded is the debut album from Jade Jackson, a young country-folk singer and songwriter with a talent for conveying an emotional intensity well beyond her years. Growing up in the small town of Santa Margarita, California, in a house that was free of television and computers, Jade Jackson found entertainment in her father’s record collection. Inspired by the music of Johnny Cash, George Jones and Hank Williams, she picked up a guitar and began writing songs at age 13. By the time she was 14 Jackson was already performing live. Upon attending college at the prestigious California Institute of the Arts (CalArts), her sphere of influence exponentially expanded to include the sounds of Tom Waits, Bob Dylan, Emmylou Harris, and California punk rock and rollers Social Distortion. During an intimate coffeehouse performance, Jackson’s melancholic country-folk caught the attention of Social Distortion front man Mike Ness’s wife and son, eventually leading the punk-rock legend to reach out to the young songwriter. Ness produced Jackson’s debut record, Gilded, and also invited her to open for Social D. on their upcoming spring tour throughout March and early April. “He gave me homework,” she points out. “He made me listen to Lucinda Williams’s Car Wheels On A Gravel Road and told me to listen only to that album for the next three or so months. That was the template of the album he wanted to create with me, so I picked from songs of mine that had a similar feel. If I didn’t have him, Gilded would have been a lot more scattered.” That’s the key, right there. Gilded is a closed circuit, a masterwork of emotional honesty, of epic tales and intimate confessions. This is just the first you’ve heard from Jade Jackson. So much more lies ahead, for her and for us.
Man Or Astroman [Live At Third Man Records (4/16/16)]

May 12 street date. On Record Store Day 2016 the aliens returned to earth after years of deep space hibernation and touched down with a perfect landing in the quiet parking lot of the Nashville Mission. Following Federation protocol, a scouting party was dispatched who bravely traversed a long cement tunnel with strange markings way back into the deepest reaches of Third Man Records, where they were to discover a martian landscape of sloping blue walls crafted of an unknown material, great beasts heads adorned the walls of this cave as though they were trophies, the entire cavern was bathed in a blue glow... the aliens, Man or Astroman?, climbed the steps of the platform in the south end of the cave AND PROCEEDED TO MELT EVERY FACE IN THE ROOM, culminating in an electrical display the likes unseen since the days of whispered about goings on at Shoreham NY way back in 1901. Man or Astroman? was recorded direct-to-acetate in Third Man Blue Room. This literally ELECTRIC performance is now available for you and future generations to enjoy on your home audio hifi systems and turntables. Buy one for yourself. Buy one for your children. Buy one and dig a deep time capsule and bury it for future civilizations to discover and corrupt THEIR youth.
Obey The Brave [Mad Season]

June 2 street date. Mad Season, the band’s diverse and defiant third album, arrives after the most turbulent period of the group’s career. Yet as vocalist Alex Erian puts it with appropriately blunt eloquence: “We’re back stronger than ever.” OBEY THE BRAVE churns out anthems of empowerment born of adversity. It’s the songs that embolden the spirit and exorcise personal demons, whether in the pit or on a day’s commute. Songs like “Raise Your Voice,” “Full Circle,” and “Get Real” are quintessential metalcore bangers. Named for the tumultuous period of its creation, Mad Season is a truly collaborative effort musically and lyrically. Joining shortly into the touring cycle for 2014’s Salvation, Terrence McAuley (guitar) and Cory Wilson (bass) gelled instantly with original members Erian, John Campbell (guitar), and Stevie Morotti (drums). McAuley also served as co-producer, alongside engineer and mixer Dean Hadjichristou. (Protest The Hero , Parkway Drive.) “In a weird twisted way I’m thankful for everything it took to get this record made because it all tested our commitment to the band and we’re still here, you know, we’re still swinging,” says Erian. “The bottom line is, we put so much of ourselves into Mad Season and the music speaks for itself.”
Stelling, Christopher Paul [Itinerant Arias]

May 5 street date. (LP version includes download) Itinerant Arias is the fourth album from troubadour Christopher Paul Stelling. There is a fearless quality to Stelling’s songs, with a voice that sounds both old and young, and his intricate finger-picking guitar style. As a live performer, Stelling is a force of nature, performing over 400+ shows in the last 3 years. He has supported artists such as Ben Harper and Nathaniel Rateliff and the Night Sweats on national tours and played solo performances across the world. Itinerant Arias finds Stelling adding a band to his recording and touring process, bringing a new dimension to his sound and powerful dynamics to his live show. “His music feels undeniable: Best witnessed live, it’s steeped in tradition yet filled with vitality, immediacy and soul.” – NPR Music // “The amount of talent that comes from Christopher Paul Stelling is difficult to put into words… press play to any one of his songs, and immediately you will find yourself transported to a place you will never want to leave.” – The Vinyl District // Dubbed one of the “10 New Artists You Need To Know” by Rolling Stone Magazine
Swans [Great Annihilator (2LP+Bonus download)]

Please Note: date change for LP to May 26 (May 5 for CD). The Great Annihilator, originally released in 1995, will be released on double vinyl – the album’s first release on vinyl for decades - and as a 2CD set. Both the vinyl (in the form of a download code) and CD will feature Drainland, Michael Gira’s debut solo album recorded at the same time as The Great Annihilator. "I have long been uneasy with the sound of the mastered version of The Great Annihilator (and it's companion, contemporaneous solo album, Drainland, included here in this new release). For whatever reason things drifted out of hand at the time, and there was never enough time or money to untangle the sonic knots created by the original unsatisfactory mastering that took place until now. It was with the utmost alacrity that I received the news recently from my friend Bill Rieflin that he had discovered the original (after much digging), unmastered mixes for both albums in his archives. We were able to proceed now with lovingly mastering both Great Annihilator and Drainland from these virgin sources, with our right hand mastering man Doug Henderson in Berlin, Germany. I have to say I'm rather pleased with the result. It's one of those instances where it's like hearing the thing for the first time again. I hope you enjoy the experience. - Drainland is a 1995 obscure solo album by me, co-produced by the lovely Bill Rieflin and myself, with musical contributions from Bill and Jarboe. Mostly featuring spare arrangements, it was recorded in Bill's living room. Some of this is pretty damn good. Some of it isn't! In all modesty, I think the good outweighs the bad. It was recorded immediately after the recording of GA. " - M. Gira 2017
Swervedriver [Mezcal Head]

May 5 street date. 180 GRAM AUDIOPHILE VINYL • INCLUDES 4 PAGE BOOKLET • FEATURING THE HIT SINGLE “DUEL” • FIRST PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON “MEZCAL” COLOURED VINYL (TRANSPARENT WITH A HINT OF GOLD) Swervedriver are an English alternative rock band formed in Oxford in 1989 around core members Adam Franklin and Jimmy Hartridge. Mezcal Head is their second album, originally released in 1993. The album includes their most successful single “Duel”, which was awarded NME’s Single of the Week. The album turned out to be one of the hottest albums in 1993 and was recognized a masterpiece from start to finish of vintage dream-pop/shoe gaze on AllMusic with a 9/10 rating. Mezcal Head was ranked at number 265 on Spin’s “The 300 Best Albums of the Past 30 Years (1985-2014)” list. Alternative Press also ranked it #39 and #90 on their “90 Greatest Albums of the 90s” and “Top 99 Albums of ‘85 to ‘95” lists respectively. Pitchfork Media ranked the album #10 in their list of the top 50 shoegaze albums in 2016. Finally, for the first time since its original release in 1993, Mezcal Head is available on European soil. In celebration, the first 1.500 copies will be pressed on “Mezcal” coloured vinyl; transparent with a hint of gold vinyl.
Weaver, Jane [Modern Kosmology]

May 19 street date. The comfortably claustrophobic opening track of Jane Weaver’s sixth studio album reveals a genuine experimental-pop artist in absolute control of her own intimate vessel, a songwriter and composer whose craft communicates and illustrates, vibrant within her first articulate strokes. In its sweetness, this is an ability that transcends style, politics and egotism and one that only comes with life-experience and the ability to learn, grow and fantasise in private and public alike. For those that have followed her detailed career, Jane Weaver is progressive rock in its purest molecular form. Fossilised in ferric, the crystal in the concrete. Magnetic, melodic, folkloric, unapologetic and rhythmic in her discipline. Modern Kosmology is the result of a scientist of popular song gone rogue. Here we find a model student of second-hand Kraut-rock, female punk, hard-subbed new-wave, synthesiser skip-finds and unpronounceable worldly feminine pop who’s finally reached her eureka moment. From science to séance, Modern Kosmology sees Jane Weaver’s melodic-protagonist channeling new depths of creative cosmic energy within. After the huge critical acclaim of 2012’s Fallen By Watchbird, followed by 2015’s exploratory “Silver Globe” LP winning her unanimous “record of the year accolades” and hefty measures of radio play-listing Jane Weaver’s conceptual trajectory has sent her neo-kosmische penchants to the point of no-return. Flown too far from the nest into a wider vista where brave melodic feminine songwriting meets robust synthesis, brutalist composition and Letterist informed song-structure… this album, for many, might be the post-grad psychedelic pop album they never thought would happen.

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