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Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard–led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club.

Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly rather than Eno penning lyrics to music generated by Max and company’s jamming, Orton started with Eno and Max writing together before adding the band.

With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope’s sound quicker and more instinctual than before. “Ross is from Sheffield, which has an edgier, more industrial vibe than London,” Grunhard explains. “He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going.”

In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way.

As a result, Pull the Rope is a nimble, sleek machine that’s thrilling from the first note of the opening title track, Eno’s otherworldly voice and PK Ambrose’s throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. “We are the places we grew up, the places we’ve been, and the people we’ve met along the way,” Williams says. “Hopping around the globe, we’ve found that people are fundamentally the same they’re people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering.” Lead single “Got to Be Who U Are” literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are.

Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. “Mama Say” and “Let My Yes Be Yes” touch themes of female empowerment. They’re indicative of the band’s depth as they push further into the electronic; “Mama Say” hits notes of electropop while “Let My Yes Be Yes” fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams’ vocals and voice has never felt more necessary.

The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come. 

Tracklisting:
Side A
1. Pull the Rope 
2. Got to Be Who U Are 
3. Fire 
4. Them Say 
5. Political Incorrect 

Side B 
6. Mama Say 
7. Let My Yes Be Yes 
8. Touch the Ceiling 
9. Far Away 
10. Dance in the Rain

Black LP contains poster + download. CD digipak.

What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers.

The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved. Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics.

The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself.

This coalesces most clearly on “Fire,” which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance.

Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches.

To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion.

Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward. 

Tracklisting: 
Side A 
1. Oxbow
2. Can’t Do Much
3. Fire
4. Lilacs
5. The Eye
6. Hell.. 

Side B 
7. Witches
8. War
9. Arkadelphia
10. Ruby Falls
11. St. Cloud

Black Eyed Sons - A New Rock 'n' Roll Collective - Members of The Quireboys and Down n' Outz are joined by an amazing collection of fellow musicians for a joyous collaboration of mutual admiration and musical celebration. Enjoy the debut album 'Cowboys In Pinstriped Suits" released via Off Yer Rocka recordings 31st January 2025.

Since the band announced they were working on their highly anticipated new album, "The Band Rolls On", what was already becoming a chance for a musical rebirth metamorphosized into something far bigger and more ambitious.  

The final cuts feature distinguished collaborations from a multitude of Rock Royalty. The band, their management and close friends within the industry all agreed that this should be treated as a stand-alone new project, a Rock 'n' Roll Collective going under the name "Black Eyed Sons", a nod to a previous album from their extensive back catalogue.

The revised album title, "Cowboys in Pinstriped Suits” is named after one of the eleven tracks and features none other than Def Leppard’s Joe Elliott alongside Alice Cooper guitarist Ryan Roxie and bass grooves from Chip Z’Nuff.

Guy Griffin commented "It's been nice to take a break and focus on the writing. Working with our own band as well as so many friends within the industry has done nothing but inspire us to write and create this exciting new project. We've done the hard work getting the tracks laid down, we're now looking forward to going back out on the road as Black Eyed Sons and delivering something entirely new from five musicians who've been playing together for over twenty years.

Relationships break down sometimes, that’s Rock 'n' Roll, everyone does their thing, but we want to make sure there's no confusion as to what this is. Whilst we're proud of our musical history, that was then, this is now. It's onwards and upwards.. so let the music do the talking.

Joe Elliott added, "Having worked with these guys since 2009 in the greatest “other” band I could ever hope to work with, The Down ’n’ Outz, it just felt totally natural for me to reciprocate the love these guys have shown me by contributing to what is essentially a new beginning for them. So welcome to the mad world of Rock ’n’ Roll, you Black Eyed Sons.." - Joe Elliott  (Cowboys in Pinstriped Suits).

Other collaborators had this to say:
“This song feels so real and natural. Like a hug from an old friend. I’m proud to be a part of it.” - Charlie Starr (Autumn Reigns)

‘’My friendship with the Quireboys started a long time ago and each time our paths have crossed, the bond has grown stronger. Therefore, I would lie if I didn’t say that in the back of my mind there always was a wish to do something together.  So, I am more than thrilled when I was invited to sing on the Black Eyed Sons new album and that they also gave me a song where I could be who I am’’ ⁃ Mike Tramp (Your True Colours)

“I go back 30 years with these guys. A band that I’ve always loved and respected. To be asked to be part of this project was a great thrill, and proud moment as a guitarist.” - Scotti Hill (Dig Me out of this Hole)

“I’ve known Griff since the beginning of our respective careers…we are both from the old school baby, and Griff has always been the embodiment of rock n’ roll - genuine, classy, trashy, and an attitude that exemplifies what it is to be a rock n’ roll troubadour“ ⁃ Ryan Roxie (Cowboys in Pinstriped Suits/Can't Put Your Arms Around A Memory)

“Since you graced us with your presence on the Wolves’ debut album, it’s only fair we should be a part of your debut as Black Eyed Sons. All the best!” - Kyf Brewer / Company Of Wolves(Foolin’ Yourself)

“Not only was it a pleasure to play guitar & sing on this record but it was also an honour to have Griff & the band record one of our songs! - Steve Conte / Company Of Wolves/Michael Monroe/NY Dolls (Foolin’ Yourself)

Band: Guy Griffin (lead vocals/guitar); Paul Guerin (guitar); Keith Weir (keyboards); Nick Mailing (bass); Pip Mailing (drums)

Tracklisting:
1. Lie To Me
2. Medicine w/ Josh Todd, Stevie D (Buckcherry)
3. Foolin' Yourself w/ Steve Conte (NY Dolls, Mike Monroe) Kyf Brewer (Company Of Wolves/Barley Juice)
4. Autumn Reigns w/ Charlie Starr (Blackberry Smoke)
5. Cowboys In Pinstriped Suits w/ Joe Elliott (Def Leppard) Ryan Roxie (Alice Cooper) Chip Z’Nuff (Enuff Z’Nuff)
6. Don't Throw Me In The Corner w/ Chip Z’Nuff ( Enuff Z’Nuff)
7. Your True colours w/ Mike Tramp (White Lion)
8. Savoir Faire w/ Alan Clayton (Dirty Strangers) Steve Conte(NY Dolls, Mike Monroe) Chris Johnstone (Quireboys)
9. Dig Me Out Of This Hole w/ Scotti Hill (Skid Row)
10. So Glorious w/ Dan Reed (Dan Reed Network)
11. Can't Put Your Arms Around a Memory w/ Ryan Roxie (Alice Cooper)

Release Date: 31/01/2025

Limited 180g blue vinyl, 50TH ANNIVERSARY - REMIXED AND REMASTERED 1974 – 2024

The debut album from Judas Priest - Celebrate 50 years of metal history with the album that started it all!

Rocka Rolla, Judas Priest's debut, has been remixed and remastered to deliver the sound and power in the way the band had always intended it to be. 

“This album lit the eternal metal flame - as real and fresh as ever five decades on” — Rob Halford 

Tracklisting: 
1. One For The Road
2. Rocka Rolla
3. Winter
4. Deep Freeze
5. Winter Retreat
6. Cheater
7. Never Satisfied
8. Run Of The Mill
9. Dying To Meet You
10. Caviar And Meths

Comprised of Clams Baker Jr., Benjamin Romans Hopcraft, Adam J. Harmer, Marley Mackey, Quinn Whalley, and Bleu Ottis Wright, Too Cold To Hold is undoubtedly their best and most ambitious album to date. Taking on board the repetitive and polyrhythmic grooves of gqom (an alluring South African take on house music), adding in a dash of hip hop flavours and even jazz, and then harnessing that to their punk-funk, disco pogo, it’s a spellbinding mix. The album is produced by the band’s Ben Romans Hopcraft alongside Jamie Neville.

Talking about the first track to be taken from the album, ‘Fashion Week’, which is a joyous account of fashion’s die-hard fans rather than the more visible arrivistes or dilettantes, Clams said: “Those that will do anything to become that thing. That creation. And live it. It’s real artistry when you don’t have the means and you’re doing it. You’re hustling to get on the guest list, you get in, you’re done up by means that you can’t really afford, whatever you do… It’s a celebration of people who will do whatever to look good and feel good and step above wherever they are in their own minds.”

Warmdsucher were born in 2014 out of a creative collision between members of various prominent bands and this spontaneous formation resulted in a band that was not just a side project, but a musical force that would soon carve its own unique niche. Over their four previous albums, Khaki Tears (2015), Whale City (2018), Tainted Lunch (2019) and At the Hotspot (2022) the band have worked with some of the most respected producers including Dan Carey and Hot Chip’s Joe Goddard & Al Doyle and gathered praise and fans alike for their DIY spirit and effortless ability to blend genres fearlessly.

A legendary live act, driven and led by the charismatic Clams Baker Jr, they are one of the most exciting bands to come out of London in recent years with their music a staple of the 6Music playlist over the years. Too Cold To Hold sees the band stretch out, open up and produce their most dazzlingly eclectic and honest album to date.

“We wanted it to be brutally honest in our depiction of ourselves,” said Ben. “We’re known for acting in a certain way, playing in a certain way and deploying a certain method. I think the formula for Warmduscher is chaos. In every aspect. There’s a lot of method to the chaos that we adopt, making sure that we are in control of that and the development of that chaos is really important. Otherwise, we’d be in the same loop of giving people what they think they want from us.”

One of the many aces in Too Cold To Hold is that not only does it give people what they want, it also provides what they need. Having come off tour enthused about what the future held for the band, Clams and Ben in particular, “wanted to use the energy of the live shows and put it into something creative rather than turn it into one big hangover.”
Warmduscher then; don’t define them, just enjoy them. 

Tracklisting:
1. An Introduction by Irvine Welsh          
2. Fashion Week                                   
3. Pure At The Heart                              
4. Top Shelf                                           
5. Body Shock                                       
6. Cleopatras                                         
7. Immaculate Deception             
8. Out Of Body                                      
9. Staying Alive                                     
10. Too Cold To Hold                             
11. Weeds In The Garden

Combining the signature soundscapes of Scorn with tartareous textures, the
newest album “The Only Place” reaches a psychedelic groove, based on what Harris calls “Pushing an original idea further” with his own shades of light and dark and celestial electricity of what SCORN is.

These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris’ abilities to generate feelings in a lost world of his own creation. 

Tracklisting:
1. Ends 
2. French Field Middle of Night 
3. Mates Corner
4. At One Point 
5. Thanks For Getting Back 
6. After Tasting 
7. Tick 
8. Something That Was 
9. Distortion 
10. Don’t and Never Have

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats.

Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news.

My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in.

Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are!

Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s.I hope you enjoy the record.” Muireann Bradley May 2023 

Tracklisting:
1. Candyman 
2. Richland Woman Blues 
3. Police Dog Blues 
4. Shake Sugaree 
5. Vestapol 
6. Stagolee 
7. Green Green Rocky Road 
8. Frankie 
9. Police Sergeant Blues 
10. Buck Dancers Choice 
11. Delia 
12. Freight Train

The debut album from the seminal pop group, finally the original recordings are back on CD and LP.

Featuring the hit singles ‘Deeply Dippy’, ‘Don’t Talk Just Kiss’ and the worldwide smash ‘I’m Too Sexy’ (recently reprised and reinterpreted by Beyoncé, Taylor Swift and Drake).

“A cultural touchstone” Rolling Stone. 

Tracklistimg: 
Side A
1. A Love For All Seasons 
2. No One on Earth 
3. I'm Too Sexy 
4. Do Ya Feel 
5. Is It True. 

Side B
1. Deeply Dippy 
2. Swan 
3. Don't Talk Just Kiss 
4. Upon My Heart 
5. Those Simple Things

‘Gentle Confrontation’, Loraine James's third Hyperdub album, opens a new chapter of her real and sonic life in which she examines her past and present. It's a positively languid, enjoyably disjointed set made while listening to her teenage favourites; math rock and emo-electronic such as DNTEL, Lusine and Telefon Tel Aviv.

The album also features an ever more diverse set of peers, placing them in her unusual musical settings and drawing out sensitive and reflexive performances. At other times the album stretches out into a drifting ambience as if seeking a sense of bliss in the everyday.

‘Gentle Confrontation’ is about relationships (especially familial), understanding, and giving back a little grace and care, while the tone of the record criss-crosses watery ambience with denatured rhythm and asmr beats.

These 16 tracks are Loraine's best work yet, and a personal and musical leap forward, delivering a totally unique vision of electronic pop music. 

Tracklisting:
A1. Gentle Confrontation 
A2. 2003 
A3. Let U Go ft. keiyaA 
A4. Déjà Vu ft. RiTchie 

B1. Prelude of Tired of Me 
B2. Glitch The System (Glitch Bitch 2) 
B3. I DM U 
B4. One Way Ticket To The Midwest (Emo) ft. Corey Mastrangelo 

C1. Cards With The Grandparents 
C2. While They Were Singing ft. Marina Herlop 
C3. Try For Me ft. Eden Samara 
C4. Tired Of Me 

D1. Speechless ft. George Riley 
D2. Disjointed (Feeling Like A Kid Again) 
D3. I’m Trying To Love Myself 
D4. Saying Goodbye ft. Contour 

Did you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictable species, when we’re allowed to be.

Also the most destructive. Miracle-Level is Deerhoof’s mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters.

Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof’s 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba.

This is also their first album written entirely in Satomi’s native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent. 

Tracklisting: 
1. Sit Down, Let Me Tell You a Story
2. My Lovely Cat! 
3. The Poignant Melody 
4. Everybody, Marvel 
5. Jet-Black Double-Shield 
6. Miracle-Level 
7. And the Moon Laughs 
8. The Little Maker 
9. Phase-Out All Remaining 
10. Non-Miracles by 2028 
11. Momentary Art of Soul! 
12. Wedding, March, Flower

‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.

Featuring the ethereal eerie dream pop of former artist commune residents Cooper Holmes and Madeline Polites, with drummer John Spiegel and Elephant 6 descendant Kiran Fernandes (keyboards, clarinets, flutes). Additional contributions come from drummer Jon Vogt who can be heard on ‘Mercy Of The Crane Folk’ and ‘Birth Of Queen Croaker’.

It’s a haunting and immersive trip into the inner psyche of these nomadic soothsayers; a psychedelic dance party from a half-lit underground world; breathlessly eerie and all consuming; a salubrious sojourn that sounds like nothing else.

Filled with a kind of peculiar optimistic uncertainty that any quest to make sense of a drowsy recollection of simpler and far better times would have; ‘Mercy Of The Crane Folk’ is soft and serene summoning up a fanciful folkloric place where, undoubtedly, the mysterious crane flock prosper. 

Tracklisting: 
Side A 
1. Chain Breaker 
2. Mercy of the Crane Folk 
3. To The Fête 
4. Medieval Jig 
5. Siren's Tunnel

Side B
6. Current In The Room 
7. Ancient Mouth 
8. Cypress Receiver 
9. Birth of Queen Croaker 
10. Red Curtain

Italian singer songwriter Marta Del Grandi returns with ‘Selva’, her most intricate and shimmering effort yet, a refined devotional suite of astute pop that flows effortlessly, uniting emotional complexity, divine organic arrangements with a sci-fi finish.

If her debut ‘Until We Fossilize’ showed all the qualities of Marta’s unique approach, tip-toeing between Laurel Canyon dust, Lynchian etherealism and dramatic Morricone scores, ‘Selva’ delves deeper into the undergrowth, showcasing an ambition to deliver a whole new universe, her own ecosystem, where the strength of her voice alone is the pillar to build on.

Beams of choral light radiate and permeate each track, with layered vocal drones creating a cathartic collision of sharp and soft textures, as almost to guide us hand in hand across Marta Del Grandi’s enchanted universe.

The ambition is blinding and the outcome is here to prove it: 12 songs of sprawling ethereal pop that is vivid, immense and fully illuminated.

“Ultimately compels with its detached, lynchian ambience.” ALLMUSIC

“Bucolic yet often emotionally complex, her songwriting – patching electronic synths against ambient elements, with a touch of modern classical – taps into areas that go beyond words.” CLASH

Tracklisting:
Side A
1. Mata Hari 
2. Eye of the Day 
3. Chameleon Eyes 
4. Snapdragon 
5. Marble Season 
6. End of the World Pt.1 

Side B
7. Two Halves 
8. Polar Bear Village 
9. Good Story 
10. Selva 
11. Stay 
12. End of the World Pt.2