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Henry Rollins. Presented in a remastered deluxe vinyl package, Just A Million Dreams, produced by Ric Ocasek and Chris Lord-Alge, takes Vega on an expedition into new territory. As an artist Vega had a crucial drive, but having a hit record was never a motive, neither was pandering to expectations, which is why Just a Million Dreams is perhaps a perfect statement for that moment, bettering the then bastions of MTV rock without even trying, an exercise in subversion that still has Vega’s unique artistry at its core. Would you expect anything less from one half of NYC legends Suicide? Perhaps not, but the hows and whys to Vega landing himself in such a mainstream position are perhaps just as fascinating as the record itself. Here Alan Vega’s vocals sound better than ever, full of emotion and brooding honesty. Lyrics painting images of dystopian love might be a sideways move away from the intense nihilism of his past, but it’s still the real deal. Alan Vega could not be anything else. Listen to tracks like ‘Creation’ and you still get that raw emotion he spent his career honing. Set against the grandeur of mid 80’s production: big processed drums, runaway guitar solos, we get a rare peak into what Vega would sound like if he was allowed to be a rock star drenched in the sonic excesses of the era. It was a brave and unfairly misunderstood move, but the components come together to form an incredible anti-commercial, commercial album. Just A Million Dreams is the sound of Alan Vega taking on the 1980’s and winning. With help of the official Vega Vault, two never before heard tracks have been unearthed from the 1985 JAMD recording sessions and brought to life by long time collaborator Liz Lamere and Jared Artaud of The Vacant Lots, adding a new insight to the recordings. Henry Rollins also lends a new written perspective, making this release a vital addition to the collections of Alan Vega and Suicide fans. It has been said that Alan Vega is forever, his unwavering artistic approach can be witnessed throughout his career, whether as part of Suicide or as a solo songwriter, poet or sculptor. Just a Million Dreams is just another example.

Fitzjohn, John and Hopey Parish and Jason Williamson (Sleaford Mods).

be released together. Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

everything you’d hope for from him and more. And this time his trusted longtime bandmates— Ryan Roxie [guitar], Chuck Garric [bass], Tommy Henrikson [guitar], Glen Sobel [drums], and Nita Strauss [guitar]—are riding shotgun. Album Feature: Tom Morello (Rage Against The Machine), Wayne Kramer (MC5), Keith Nelson (Buckcherry) and Kane Roberts Produced by: Bob Ezrin Ltd Edition Boxset Tracks: I'm Alice / Welcome To The Show / All Over The World / Dead Don't Dance / Go Away / White Line Frankenstein / Big Boots / Rules Of The Road / The Big Goodbye / Road Rats Forever / Baby Please Don't Go / 100 More Miles / Magic Bus / Feed My Frankenstein (Live at Hellfest) / No More Mr. Nice Guy (Live at Hellfest) / Bed Of Nails (Live at Hellfest) / Hey Stoopid (Live at Hellfest) / Fallen In Love (Live at Hellfest) / Go Man Go (Live at Hellfest) / Guitar Solo by Nita Strauss (Live at Hellfest) / Roses On White Lace (Live at Hellfest) / I'm Eighteen (Live at Hellfest) / Poison (Live at Hellfest) / Billion Dollar Babies (Live at Hellfest) / The Black Widow Jam (Live at Hellfest) / Steven (Live at Hellfest) / Dead Babies (Live at Hellfest) / I Love The Dead (Live at Hellfest) / Escape (Live at Hellfest) / School's Out (Live at Hellfest) / I'm Alice / Welcome To The Show / All Over The World / Dead Don't Dance / Go Away / White Line Frankenstein / Big Boots / Rules Of The Road / The Big Goodbye / Road Rats Forever / Baby Please Don't Go / 100 More Miles / Magic Bus

her mission to spread bossa nova, the iconic musical language created in Brazil in the 1950s, to a new generation of music fans in America and around the world. Having been raised on the vinyl of Gal Costa, Tim Maia, Evinha and more, she is now creating a sound both timeless and forward thinking. On her debut 7" Frutas / Can't Keep My Plants Alive, which features analog production from Philadelphia's Eraserhood Sound, Alici showcases her unique, soulful, bossa-influenced guitar style. The A side "Frutas" is an uptempo burner featuring a lush string arrangement, while the B side "Can't Keep My Plants Alive" is a slinky yet confident strutter replete with guitar solo outro. She uses her smokey, sultry voice to sing in both Portuguese and English, painting simple yet powerful portraits of what it means to be young and finding one's way in modern times. Grab a copy of this exciting double A side

vinyl in the back room at Amoeba Records in the late ‘aughts. Zuma 85 signals the start of a new era for Allah-Las, and finds the band reinventing itself in defiance of the algorithmic categorization and robotic sterility. Recorded in the midst of the shift from the Old World to whatever branch of reality we're on now, it's a return, too: The album will be released October 13th on their own label, Calico Discos, in partnership with Innovative Leisure, which released early defining statements like Allah-Las (2012) and Worship The Sun (2014).

find the proper environment to record their first single “Catamaran” / “Long Journey” which now bookends their upcoming self-titled release. These are the kind of songs that bounce between London and Los Angeles, the kind of thing that could have comefrom Mick Jagger or Arthur Lee or both at once, with crystalline guitar and slow-mo drums that recalled the way the waves take big bites of the beach at night. This is mystery music from the strange and ancient-modern California fringe, more Night Tide than Easy Rider. Allah Las are a reflection of a reflection, an echo of an echo, a band that is psychedelic not because of reverb or shredding through pedals but for the simple way their songs seem to extend to infinity.

sound that characterised Altin Gün’s first two albums, On (2018) and Gece (2019). But there’s development here too. Aşk is the closest the band have come so far to capturing the infectious energy of their live performances. “It’s definitely connecting more with a live sound – almost like a live album,” says bassist Jasper Verhulst. “We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home.” “We didn’t record it like we did the last album,” agrees vocalist Merve Daşdemir. “We basically produced that one at home because of the pandemic. Now we’ve gone back to recording live on tape.” “We took a very traditional approach to recording a rock album, like in the 70s,” Verhulst adds. In this instance, that doesn’t just mean getting six musicians together in a room with a few microphones. “It’s also about the gear that we are using,” says Verhulst, “the tape and everything.” It’s this attention to detail in using vintage equipment and recording techniques that gives the album such a warm and welcoming sound. But, above all, this is the sound of friends and collaborators joyfully reconvening to make music together again in real time and space. There’s also a deliberate return to the source in the material they’ve chosen for this album. All ten tracks are new readings of traditional Turkish folk tunes, revealing how these ancient songs remain eternally resonant and ripe for reinterpretation. “These songs have been covered so many times, always,” says Daşdemir “But not really in psychedelic pop versions,” Verhulst adds. Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Aşk wants to take you places. All you have to do is strap yourself in. Tracks: 1. Badi Sabah Olmadan 2. Su Siziyor 3. Leylim Ley 4. Dere Geliyor 5. Çit Çit Çedene 6. Rakiya Su Katamam 7. Canim Oy 8. Kalk Gidelim 9. Güzelligin On Para Etmez 10. Doktor Civanim

Rev' is in your hands and ears from October 7th. Tracklist 01 Pharmacist02 Easy on Your Own?03 After the Earthquake04 Tom Verlaine05 Pressed06 Many Mirrors07 Very Online Guy08 Velveteen09 Tile by Tile10 Pomeranian Spinster11 Belinda Says12 Bored in Bristol13 Lottery Noises14 Fourth Figure

Rikki Ililonga’s Zambia, WITCH’s Lazy Bones!! - are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue. SIDE A: 1. Amanaz 2. I Am Very Far 3. Sunday Morning 4. Khala My Friend 5. History Of Man 6. Nsunka Lwendo SIDE B: 1. Africa 2. Green Apple 3. Making The Scene 4. Easy Street 5. Big Enough 6. Kale SIDES C & D: Reverb Mix

album Bitch Betta Have My Money with the platinum selling lead single of the same name. This reissue has this West Coast 90s classic on vinyl for the first time since its initial release and includes “I Wanna Be Yo Ho (Remix)” previously available only as a CD bonus track. A1 The Vertical Joyride A2 Word 2 Tha D A3 I Wanna Be Yo Ho A4 When She Calls A5 Once A Dawg (Janine 2) A6 Jiggable Pie B1 P-Funk B2 Mai Sista Izza Bitch B3 La Queeda B4 Vertical Interlude B5 Bitch Betta Have My Money B6 Lik 'Em Low Lover B7 Sylk's Cellular B8 Nu Exasize C1 Backseat Queenz C2 Givva Dogga Bone C3 Yo Momma Told Me... C4 Trunk O' Funk D1 Tha Booty Up D2 My Ho, My Kids D3 D. Control D4 I Wanna Be Yo Ho (Remix)* *Previously a CD Only bonus track

dig." -Rolling Stone

Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim. The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim. The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

you all and I never really know what will come or how I will respond or interpret the inspiration. We all have aspirations, ideas or plans but isn’t it the most. André Benjamin - best known as André 3000 - is one of the most celebrated artists of the last three decades, an auteur whose work in music, film, fine arts, and fashion, continues to influence the cultural landscape on a global scale. As one half of Outkast, André established a brand new voice within rap that had never been experienced before when the pair emerged in the early ’90s. New Blue Sun is the continuation of discovery for me. My entire career has been fueled by this and it is the only thing that keeps me honest. This album is the most honest and interesting offering I can give today. I never could have imagined in high school, when I started rapping and doing music that I would be here right now playing wind instruments. Ha. This life ride always surprises me. I’m here for it.” — Andre 3000

sophomore effort as a solo artist, Cedar City Sweetheart. The songs evoke a familiar feel for fans of his debut album, but new instrumentation and country-leaning lyrics give us a glimpse of another side of Andrew. "I love when a rock band makes a country album," he explained, pointing to The Byrds as a major source of inspiration. Andrew played every instrument on his solo debut, Homemade. This time around, he called on some local musicians to add color. "Originally, I didn't have access to much recording equipment. I tracked my parts with an iPhone. My friends recorded their parts professionally, so I was able to piece it together and take another stab at recording the core of each song." The final product is a better sounding, polished group of songs that fit together to make a country album. The songs were written over the course of several years, but they're all very fresh in Andrew's mind. "I can remember a specific moment from writing each one of these tunes. They're simple songs that came naturally to me." Even though Andrew has written and contributed on countless albums over the years, this one truly feels like his second. The album is set to release March 24, 2023 on Colemine/Karma Chief Records. Tracks: 1. Glum And Empty 2. Redwood 3. Cloud Of Smoke 4. Surfboard City 5. Smoky Mtn. Prowler 6. Lonesome Psychedelic Cowboy 7. Take Me Away From You 8. Singin' 9. The Move 10. Get Blue 11. Cool Ranch 12. Yer Time'll Come

the perfect foundation for AndyÕs minimal heartfelt words. IÕm Dreaming is the perfect song for the flip complimenting side A with itÕs raw vocal and piano. Dreaming offers words of escape, hope and self sanctuary in a world on fire. A SIDE: Forevermore - 2.01. B SIDE: I'm Always Dreaming - 3.21.

being one of the most creative forces to come out of Melbourne’s post-rock scene, Anita came to London in 1980 with The Birthday Party. Credited as a co-founder of Nick Cave’s Bad Seeds, Lane exerted a strong influence over the band and co-wrote the universally acclaimed ‘From Her To Eternity’ and the haunting ‘Stranger Than Kindness’, whilst also collaborating with the likes of Barry Adamson, Einstürzende Neubauten, Die Haut and Mick Harvey on his celebrated Serge Gainsbourg albums.