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Attention, Sinclaire’s sole full-length album was originally released in 2000. The album saw the band evolve their style from brooding post-hardcore group to a more pop-friendly sound indebted to Rick Springfield and the burgeoning Midwestern emo sound of The Get Up Kids and The Promise Ring.

Guitarist and lyricist Ian Murray would go on to state, "We wanted a record that could reflect that side of ourselves without losing what we loved from our earlier music. The first song, The Secret Weapon, was specifically about this shift. It was a declaration that we were not going to be as angsty, as self-serious, as… well, emo. I wrote a choppy rock riff that wouldn’t feel out of place on a Loverboy album, and we went from there."

The band decided to do their own playful take on boy bands of the era through the lens of post-hardcore melodic rock. In fact, the original title of this album, Attention Teenage Girls, was inspired by the way boy bands at the time tried so desperately to appeal to a young female audience.

For this re-release, the band has tweaked the album name. When removed from the specific context of that time, the group don’t think the satire of the original album title really lands anymore. They didn't want the original album title to feel exclusionary or otherwise be a barrier to someone discovering this for the first time without all that context from the year 2000. The songs hold up even if the satire didn’t.

The album was originally recorded the album over a week in the spring of 2000 with Ian Blurton at Chemical Sound in Toronto. The album was remixed and remastered from the original tapes by Jon Drew.

Shallow North Dakota’s debut full-length album Auto Body Crusher was the culmination of three years of developing their band and sound through performing as many shows as possible.

The album was mixed in Los Angeles by Joe Barresi (Jesus Lizard, The Melvins, Queens of the Stone Age) and was comprised of multiple recording sessions from Signal to Noise, Metalworks, and a range of other studios and spaces the band were able to access at the time.

In the words of guitarist Dan Dunham, “Tony and I arrived at Union Station at 8:30 AM after two and a half days on the train in coach. Choppers were flying overhead covering the OJ trial down the street; we had arrived in Los Angeles. Our friend, Mark DiPietro, met us at the station and drove us to Mama Jo’s studio at 8321 North Lankershim, North Hollywood. We met Joe and the studio assistant, Tim, and started the mix down straight away.

Mark hung with us over the five days of mix downs. We dubbed cassettes to check mixes. His car became a second listening area. We realized that if the rear-view mirror in his car vibrated on playback, we were very close on a final mix.

Joe was open to any ideas we had regarding a song/mix and we collaborated using multiple source formats, two inch tape, cassette, DAT, as well as 1/4 inch tape loops to achieve what we were hearing in our heads.

All final mixes from these sessions were mixed to 1/4-inch tape. Joe cut and spliced tape to edit our album sequence together during the final hours we had in the studio, and that’s what is presented here: our original intended album sequence as it was then, remastered from the original tapes.”

Ben Seretan has an album that he’s only ever referred to as his “insane Italy record," but it’s called Allora — an expressive Venetian catchall that translates to "at that time." It’s a fitting banner over a record indelibly tied to the circumstances of its capturing: it’s summer 2019, and Ben and his band (bassist Nico Hedley and drummer Dan Knishkowy) go through with a planned tour to Italy amidst their vivid grief over the recent passing of a close friend. The band flies overseas, the tour falls apart. The band responds by leaning into the country's rose-colored revelry – sweating in the Mediterranean heat, smoking cigarettes on trains, biting into bacchanalian fruit. Instead of playing shows, they head to a stone farmhouse in the hills above Venice with legendary psych-rocker and producer Matt Bordin and burn Allora to tape in three days.

Three days. The furor of this record makes that fact seem appropriate, but the grace notes that fill its corners make it feel impossible. The utter chaos this record exudes is there for a reason. Its borderless color is unsurprising if you know Ben Seretan’s catalog — there's a 24-hour drone record, his weekly project of writing over a thousand words and publishing an accompanying track (My Big Break), and a set of improvisational piano duets with the white-noise roar of Appalachian nature (Cicada Waves). Drop a needle into the middle of any of it and you'll be disarmed. The same goes for Allora, jagged as it may be on its face — but follow the coarse, winding path of any track and you'll be met with the same springs of hymnlike tenderness. Over and again Ben and his band march arm in arm from tearful elegy to dancefloor eulogy — neither cancels the other.

Record Record Label is set to release ’The Wonderful World of the Pursuit of Happiness' by The Pursuit of Happiness on vinyl for the first time on July 26.
The Wonderful World of the Pursuit of Happiness was the band's fifth and final album. It was their most overtly pop album, flirting with the power pop genre and artists like The Raspberries and The Knack. All fourteen of the album's tracks were under four minutes, with no breaks between the songs with the intention of maximizing the listener experience.

About The Pursuit of Happiness:
The Pursuit Of Happiness was formed in 1985 in Toronto, ON. Their debut single, “I’m an Adult Now”, quickly became a smash hit across Canada in 1986, sparked by a low-budget video which made it onto the Canadian music video channel MuchMusic. In 1988, they signed to Chrysalis Records. Their debut album, Love Junk, was produced by Todd Rundgren and released that year. “I’m an Adult Now” was re-recorded and re-released as a single, making it to the charts a second time. In January 1989 the song peaked at No. 6 on Billboard’s alternative songs chart. It was followed by “She’s So Young” and “Hard To Laugh”. The album sold over 100,000 copies in Canada and was certified platinum. TPOH continued recording music and touring into the 90s, and was inducted into the Canadian Indies Hall of Fame in 2006. More recently, they have been performing across the country and keeping the music alive. Berg also remains busy as a member of The Trans-Canada Highwaymen with Craig Northey, Chris Murphy, and Steven Page, as well as with his production work.

DestructionDerby(Remixes and Alternative Mixes) is a collection of the remixes and alternative mixesfrom the era of their debut album - Future Primitive. Reconfigured by the finest minds in underground rock n roll and trashed onto a mixtape cassette, the mixtape brings together remixes of Data Animal along side remixes undertaken by Data Animal of other artists.DestructionDerbyis out on cassette and digitally May 31st , only on Dedstrange.

Though Wild Pink are known for their collaborations — among which include Julien Baker, Ryley Walker, Jasmin WIlliams, Ratboys’ Julia Steiner, and J. Mascis of Dinosaur Jr.— “Air Drumming Fix You” showcases Ross unadorned and singular, reinforcing him as "a truly gifted songwriter, one able to contain vast vistas within single songs” (Under the Radar). As Ross connects associative ideas of VR worlds, church pews, and “baby’s breath just like creme fraiche,” the track transforms into something truly anthemic. With spaced-out synths and saxophone, it conjures open and unexplored terrains, a natural extension of Wild Pink’s “vast and swooning” (The FADER) sound.

Facta returns home to his own Wisdom Teeth imprint with ‘So is the sun’ - a bold EP of artful club reductions that distill his unique and playful approach into some of his most assured and direct works to date. As ever with Facta’s output, there is a moreish push-pull between functionality and creativity on display here. Infectious hooks are sculpted out of warping, plasticine sounds, whilst melodic splashes of colour are painted in broad, bright brushstrokes. Bleeping FM synths fizz into shot before oozing out of frame again, dripping splashes of neon colour over the record’s skipping, nimble rhythms as they go. There are a few key reference points at play here - in particular the light-footed grooves of early 00’s minimal house and the space-age synths of artists like DBX and S-Max - but these influences are totally refracted and subverted to create something fresh, contemporary and of its own. Produced and honed across a year, the tracks took shape slowly alongside regular club play from the label crew and a clutch of trusted DJs who road tested the tunes at various demo stages. The result is one of Facta’s most decisive and focused club records so far. The EP marks the Londoner’s first solo outing in over a year, following on from his acclaimed 2023 EP, ‘Emeline’, which was released on Anthony Naples and DJ’J’s Incienso imprint. It forms part of Wisdom Teeth’s busy schedule of 10 year celebrations, which includes a string of releases from new and existing label members, merch drops, and a global run of live showcase events. Vinyl copies also include two exclusive locked grooves for the adventurous DJ!

Gnod, the ever-transient psychedelic musical unit from northern England with over 15 years and dozens of releases under their belt, return in 2024 with a recalibrated sound and a new sense of freedom. Spot Land’s five songs are tender and detailed, unfolding slowly with wistful guitar textures, brushed drums and interjections of lap steel, piano and kalimba.

As founder member Paddy Shine says, the results sound like old Gnod and new Gnod at the same time. On the face of it, Spot Land is a big step away from the intense, loud, sludgy offerings found on the group’s more recent studio albums, such as 2022’s Hexen Valley – nevertheless, these too are heady fogs to lose yourself in, with on-record personnel starting at different points and meeting on the same wavelength. Its exploratory sense might make seasoned Gnod heads think of 2014 triple LP Infinity Machines, or really early oddities like The Somnambulist’s Tale from 2008, but you can also jump in right here if needs be because Spot Land has its own unique vibe too.

The album was recorded in a Rochdale mill over four days in August 2023, with Paddy handling all the production and mixing – the first time he’s been fully in the hot seat for any Gnod release. He’s also the only member to feature on each of the five tracks, with others coming and going in suitably informal manner. Everyone – Paddy, fellow Gnod founder Chris Haslam, Alex Macarte, Raikes Parade and Al Wilson – plays at least two instruments over these 40 minutes. There are no vocal credits among them, but Spot Land is embellished beautifully by sampled voices, notably on the album’s opening and closing pieces. Benedictine monks intone hymnally on ‘Peace At Home’, gliding over the top of jazzy, graceful desert music, while during quarter-hour ambient rock frazzler ‘Pilgrim’s Progress’ we hear – yes – Christian pilgrims chanting in a church in Azores.

These songs are unquestionably the product of jamming, improvisation and an open mind, with little of any of what you hear having much in the way of a preconceived structure, but don’t imagine this to be self-indulgent or bloated, thanks especially to Paddy’s judicious editing process. ‘Luz Natural’ is a beatific beatless wonder crafted from synth, piano and lap steel, a soundtrack for a rainforest located somewhere along the Pennines. ‘Dream On’ is Spot Land’s most rhythm-forward moment, alien-sounding synths snaking through sharply shuffling bass and drums, whereas ‘Kapal Bhati’ is its height of abstraction: thumb piano, bizarro dub treatment and distant voices that could be anyone, from anywhere.

Though Gnod’s shift in sound from album to album is rarely planned too far ahead, there’s been a quiet desire among the band to do something of this nature for a while. The results might confound the expectations of some listeners, but in the longer view Spot Land is liquid Gnod. The arresting cover artwork is a showcase for Chris Haslam’s illustrative skills; his process here, he says, was “starting on something, never knowing when it’s complete, just when it feels finished. Like the music, really.”

Forgive Too Slow, avant-garde artist Julia-Sophie’s deeply personal debut album is testament to her ability to transform adversity into raw beauty, combining her traditional songwriting roots with her own take on experimental electronica. It features her intimate voice backed by warm and precise electronic sounds whose free spirited explorations give body to the carefully written personal songs.

Julia-Sophie comes off the drama of her 2010s rock band, Little Fish, which was signed to a major label. The surreal experiences (like being flown to Las Vegas in helicopters with a bag of slot machine money or given limousines for the day to go shopping), along with having to work in environments where she felt unsafe, drove her decision to leave the fame game. She turned down the offer to emigrate to America and engage with the machinations of the system as it did not feel “true or congruent with who I was.” Instead, she focused her attention on her hometown (Oxford, UK).

She started recording lo-fi pop in her garage, using an old laptop, wonky microphones and hitting whatever was around for beats. Her band at the time, Candy Says, grew to be more of a collective than a band, and eventually co-wrote a film score for indie film Burn Burn Burn and recorded a cover of “Running Up That Hill” for the Netflix film Close (starring Noomi Rapace).

Julia-Sophie soon started recording songs with her friend B, who had a studio stacked from wall-to-wall with analogue recording gear, vintage synths and drum machines. She decided to self-release and the music reached audiences beyond her expectations, including support from BBC Radio 6 and a feature in The Quietus.

Forgive Too Slow is Julia-Sophie’s debut solo album, and concerns relationships and the struggles one goes through when one “forgives too slow” and can’t break out of patterns from the past. The songs narrate her story of self-destruction (“Numb”), love (“Falling”), and loss (“Telephone”). By the end, embers are still burning and there is no telling if Julia-Sophie has found peace, but one does get a sense that she has gotten closer to the core of her being and is finally living authentically.