来自洛杉矶四人全女子独立摇滚乐队Warpaint，成立于2004年的情人节，主打风格为迷幻摇滚和梦泡。NME将他们的风格描述为“间歇性地从简朴的情绪转变为更坚硬的摇滚乐，它们播放的音调宽大，音调柔和，并具有足够的时间变化，即使是最讨厌的前卫摇滚乐手也能满意。”

Double LP housed in wide spine jacket with poly-lined inner sleeves on transparent light blue and baby pink splatter color vinyl. Includes 18-page booklet containing liner notes and never-before-seen photos and ephemera. Limited to 500. Issued with card for digital download for the unreleased tracks.
Tracks:
A2, A4, B1, B3, B5, B6, B7 originally released in 1971, I Don't Think It Will Hurt If You Smile.
D1, D7, unreleased demo recordings from 1971.
A1, A3, A5, A6, A7, B4 originally released in 1966, Walkin' My Cat Named Dog
B2, C3 from the unreleased album, Snow Cycles.
C1, C2, C4, C5, C6, D2, D3, D4, D5, D6, unreleased demo recordings.

dark psychosexual electronics lurk between the teeth of ester kärkkäinen, the las vegas based artist also known as himukalt. for the past six years, she has tirelessly pursued an avenue of bleak industrial productions that parallel the extremist works of genocide organ and atrax morgue. she has built a considerable reputation for uncompromising, full-frontal noise, releasing albums on total black, malignant records, found remains, and foul prey, amongst others. between my teeth was originally a cassette which came out in 2018 as a tiny edition on the greek imprint several minor promises and sold out immediately upon release. himukalt returns to helen scarsdale with the necessary reissue of between my teeth as a vinyl edition with expanded artwork.
the album is a maelstrom of ill-tempered noise and blackened frequencies, sutured to a foundation of primitive, raw rhythms. kärkkäinen cuts up her own voice with the digital equivalent of a rusted razor blade through her proclamations of misery, rage, and desire. the albums' opening track "cataclysm" a turgid industrial production with kärkkäinen adopting two distinct voices that, while they remain mostly indecipherable in content, the context presumes an inevitable, catastrophic and emotionally violent collapse in the relationship between two people. a tense rhythm clicks below the full spectrum bursts of harsh noise on 'she went mad' followed by the smoldering power electronic moves of "i no longer belong" and "not proper." and the death disco groove of "mine" is far more hellish than danceable through its scalded distortion and kärkkäinen's vocal mantras about bodily self-loathing.
another bold, declarative album in the ever impressive himukalt discography.

Sananda Francesco Maitreya, who started his career with the stage name Terence Trent D'Arby, is an American singer and songwriter who came to fame with his debut studio album, Introducing the Hardline According to Terence Trent D'Arby.

On The Ailing Facade, Aeviterne look beyond the destruction of flesh or the punishment of the spirit, instead turning inward to focus on the abyss of consciousness itself: the curse of sentience; the futility of productivity; the breakdown of consensus reality; humanity’s twin drives to propagate and destroy itself, locked in permanent perverse competition.
Aeviterne formed in 2015 as a vehicle for guitarist and vocalist Garett Bussanick to continue exploring some of the musical ideas his previous band Flourishing pursued, particularly the fusion of death metal with rhythms and textures inspired by harsh post-punk and industrial music. Bussanick, Flourishing bassist Eric Rizk, and drummer Ian Jacyszyn (Miasmatic Necrosis) unveiled the Sireless EP in 2018. The years since that brief but powerful introductory statement were spent not in dormancy, but in painstaking composition and relentless experimentation in pursuit of the densely textured, multifaceted sound of The Ailing Facade, and also saw Aeviterne’s lineup expand to include guitarist Samuel Smith (Artificial Brain, Luminous Vault).
The result is an album that plunges listeners into hellish headspaces of dread, anxiety, and unease through dynamic... songwriting and deliberate, nearly narrative sequencing rather than effects pedal abuse, made even queasier and more disorienting through subtle electronics and additional layers of percussion, culminating in the instrumental title track and epic closer “Dream in Lies.” Immolation’s harsh technicality and the psychedelic menace of Godflesh can serve as reference points, but don’t fully capture the all-devouring alchemy of The Ailing Facade.
The Ailing Facade was engineered and mixed by Jacyszyn, with drum engineering and mastering by Colin Marston (Gorguts, Krallice). Artwork and layout by Mark McCoy (Full of Hell, Pig Destroyer).

The Accidentals are a female fronted, power trio, that features an eclectic blend of Indie Folk, Pop, Rock. Think Brandi Carlile meets The Avett Brothers.

Hail horrors! After six years in deathlike repose, Predatory Light returns. From beneath churchyard stones, the bare, ruined choir sets forth to drape the world in its nocturnal lightings. Once again established in the spiritual desert of the southwest, the devil’s quartet has been reanimated by the same infernal regents that compose the deadly Superstition. As a result, the four musicians that conceived ‘The Anatomy of Unholy Transformation’, in Predatory Light, delve into far bleaker corners of their dark twisting subconscious.
“Death And The Twilight Hours”, the second album from Predatory Light is comprised of four towering mazes of infernal technicality, ancient evil, and eerie church nightmare Black Metal of the South European and South American style. These four hymns conceptually meditate on the triumph of death during times of plague, focusing on the psychological terror and rapture of humanity’s impending doom. Borrowing imagery from Boccaccio’s account of the plague in his native Florence and inspired by Lucretius’ record of the Athenian Plague, Predatory Light explores the historical mindset of human sin and torment- evoking the archetypal personification of death as it tethers human consciousness to the realm of earthly suffering.
The sinister, spectral guitars that drift like cemetery mist over everything and beckon for release tell the story on “Death And The Twilight Hours” as much as the scathing diseased vocals guiding the path. Now resolutely ascendent, Predatory Light’s return heralds the second coming of one of US black metal’s immense outliers.

1988年，只有16岁的吉他手兼歌手Billie Joe Armstrong与同龄的儿时伙伴，贝司手Mike Dirnt联手在美国加利福尼亚州西北部首先组建了Green Day的前身Sweet Children乐队，1989年当鼓手Al Sobrante加入之后正式更名为Green Day——吸食大麻的一天，意在使歌迷们对他们的音乐如同对大麻一样上瘾。成军之后通过发行一些EP专辑，进入90年代的Green Day在加州北方的地下朋克圈内名声鹊起，随即加盟了加州当地的独立唱片公司Lookout!。随着该公司老总Larry Livermore的推广，Green Day乐队已经成为了加州地下的名角。1991年，Green Day乐队还发行了乐队首张专辑《1,039/Smoothed Out Slappy Hour》，但是在这张专辑发行之后，Green Day乐队就遭遇了人员动荡，Al Sobrante离队，现任鼓手Tre Cool替代了他的鼓手位置。乐队阵容从此稳定了下来，Tre Cool原名Frank Edwin Wright，贝司手Mike Dirnt原名Mike Pritchard。不过此后一段时间Green Day一直没有太大突破，直到1992年发行了专辑《Kerplunk》，这张专辑在加州地下乐坛反响颇佳引起了主流唱片公司的关注，Reprise公司最终和他们签约。

在整个 90 年代初期，green day 不断扩大自己的追随者，1992 年专辑《kerplunk》的发行更为之注入了能量。此时，armstrong 在语言上对任何另类以外的东西的鼓吹都避而远之。他就什么是当代美国所需要的答记者说，“少点体育，多点绘画；少点乔•蒙大拿，多点凡高！”乐队还与许多人合作，如 pinhead gunpowder和 screaching weasel。 armstrong 还与另一支热门乐队 rancid合作了《radio, radio, radio》。《kerplunk》在地下的成功引起了各大唱片公司的兴趣，乐队最后决定签约 reprise。

Green Day 时隔5年新作《21st Century Breakdown》，花费三年多的制作，朋克歌剧风格，叙事体裁，他们颠覆一切、他们野心勃勃，他们就是这个世界。
【专辑背景】
2004年的“朋克歌剧”《American Idiot》为绿日乐队（Green Day）赢得两座“格莱美”大奖，并让乐队一跃成为世界一线乐队。2009年乐队改换制作人请来Garbage 乐队的鼓手Butch Vig担当制作，虽然改换制作人但新专辑依然延续《American Idiot》的概念之路，以年轻夫妻Christian 和Gloria为主角，《21st Century Breakdown》共分三幕，“Heroes and Cons”、“Charlatans and Saints”和 “Horseshoes and Handgrenades”来讲述一个世纪的兴衰成败。
【专辑评测】
国外有句谚语叫“If it works, don't fix it.”意思是说如果好好的就不要去改变什么，绿日乐队的主唱Billie Armstrong一定深知其中的道理，所以当2008年他对外宣布乐队将在今年发行新专辑时，包括他在内的所有人都清楚绿日很可能再造一张《美国白痴》，这几乎就是不用揣测的事情。四十年前英国乐队The Who在发行了一张石破天惊的摇滚歌剧《Tommy》之后顺其自然地推出了现场版的摇滚歌剧《Live At Leeds》，他们懂得只要好好的就不要去改变什么；再近一些，2000年U2乐队发行《All That You Can't Leave Behind》从90年代末阴霾的电子舞曲抽身而出，接着2004年发行《How to Dismantle An Atomic Bomb》进一步巩固自己伟大乐队的地位，他们同样懂得只要好好的就不要去改变什么。如今同样誓做伟大乐队的绿日也很清楚要将《American Idiot》良好的势头保持下去就只需再造一张《American Idiot》，一张不够就做两张，只要还是“绿日”时代，他们的朋克歌剧就不缺少听众。
除了将合作十年的制作人Rob Cavallo替换掉，《21st Century Breakdown》与《American Idiot》就再无其他差别，同样的音乐风格、同样的概念故事、同样的目标。用一个词定义《21st Century Breakdown》就是“野心”，无论从音乐上还是从歌词内容上，绿日都显示出坚定而且接近完美的野心。对于一只伟大的乐队来说这是必要的，伟大乐队的伟大之处就在于他们能做到别人想都不敢想的事情。
《21st Century Breakdown》音乐上的野心体现在制作人以及歌曲风格上，请来Butch Vig是因为Nirvana 的经典专辑《Nevermind》以及 The Smashing Pumpkins的惊世专辑《Siamese Dream by》都是出自他的监制。绿日乐队动用他的目的很明显，凭他的神奇再造一张经典。事实证明，新制作人的效果是强悍的，一方面他将一个庞大的主题通过编曲很好地连接成了整体，另一方面他让乐队尝试更多风格，除了朋克更加猛烈外，还有多首加入钢琴的作品，甚至还让Billie Armstrong用假声唱起慢歌。这在以前是绝对不会出现，融合多种风格的绿日也可以将流行朋克的帽子彻底拿掉了。新专辑内容的野心体现在歌曲的容量，专辑十八首歌曲讲述跨度一个世纪的庞大故事，如此庞大的概念专辑一般乐队是难以驾御的。新专辑以年轻夫妻Christian 和Gloria为主角讲述对宗教、政治、信仰的反思，当然还少不了小布什，绿日乐队成名于对他的攻击，自然要“善始善终”。小布什的卸任对于“绿日”来说多少算个损失，少了这个倒霉蛋，他们的矛头就不够尖锐，不过战争与和平是永久的话题，况且Billie Armstrong从约翰-列侬（John Lennon）那学来了工人阶级情怀也大有用武之地，专辑同名曲《21st Century Breakdown》即是讲述工人阶级的劳苦处境，歌曲思想上的升华是伟大乐队该有的境界。
绿日乐队的朋克歌剧做得不亦乐乎，《21st Century Breakdown》的野心要远远超过《American Idiot》，他们的灵感来自皇后乐队（Queen）、“冲撞”乐队（The Clash）以及美国蓝领领袖Bruce Springsteen，很宏大很强势，《American Idiot》能获得“格莱美”，《21st Century Breakdown》也很有希望，而问题就在于他们还要继续做几张《美国白痴》？真正的考验还在后头。（文/赵南坊 网易音乐测评室）

French 24-bit remastered reissue includes four bonus tracks, 'Golden Earrings', 'Deep Purple', 'Blue Hawaii' & 'The Way You Look Tonight'. Packaged in a digipak with four page booklet. Magic. 2002.

Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest momentsin 90's alternative and hard rock with a fresh setof ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020. Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption, 12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that chan- nel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once

Ezra Chong - guitar, vocals, keys, pennywhistle, noise
Gage Walker - bass, tape loops, noise
Noah Mortola - drums, percussion, noise
Tadan Baartz-Bowman - violin (tracks 7-9)
Tycho - vocals (track 7)
Produced, recorded & mixed at Mort Haus by Noah Mortola.
Rhododendron would like to appreciate our respective families, friends and everyone else who supports us. Special thanks to Tadan for the violin work, Myra and Alder from Gone Rotten for lending us some gear (we love you too Rick), Kill Michael, Ghost Perm, Monolithic Witch, Growing Pains, Simpleton, Cheer Up Charlie and last but not least, Dennis Hopper (RIP!)