9/10 Vinyl New Releases

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.

Focusing on their craft, staying out of the fray, and holding fast their faith to find new ways to express the discord and delight of being alive, to turn the duality of existence into hymns we can share, Low present HEY WHAT. These ten pieces—each built around their own instantaneous, undeniable hook—are turbocharged by the vivid textures that surround them. The ineable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks FORWARD, with teeth. HEY WHAT is Low's thirteenth full-length release in twenty-seven years, and their third with producer BJ Burton.

Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound.  With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.

Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound.  With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.

Clear Vinyl. Originally released in 1975, Force It is UFO's fourth studio album. Produced by Ten Years After's Leo Lyons, it was their first album to chart in the US and enabled the band to kick up a rockier gear. Containing many classic tracks still in their live set today, such as "Shoot Shoot" and "Let It Roll", this newly remastered 2LP gatefold deluxe version includes the Record Plant live set and bonus track "A Million Miles" which were previously unavailable on vinyl.This limited-edition version is pressed on clear vinyl.

"I've got plenty of energy, it's my currency" sings Amy Taylor on the opening track of Comfort To Me. After the release of Amyl and The Sniffers (2019), the band conquered the world one club gig and festival stage at a time. Their unrelenting, jaw dropping live show propelled them to must see status and prompted The Guardian to declare AATS “the single most exhilarating rock’n’roll show I’ve seen in years.”  Comfort To Me is somehow both heavier and more awesome than their debut and fully captures the chaotic energy of their live show.

Riddy Arman opens her debut album from La Honda Records with a song called “Spirits, Angels, Or Lies” inspired by the true story of her father’s passing. In the lyrics, she examines the human tendency to interpret the unknown. The story she weaves details the final moments and visual hallucinations experienced when Johnny Cash visited her father on his deathbed. Long-time fans of Arman will recognize the song from her viral performance video, shot by Western AF in a Montana rail link boxcar, where the world was introduced to her distinct, sultry lope.

Against the bucolic and industrial backdrop of the video, Arman is clearly in her element, clad with ranch worn clothing. It is obvious she lives a lifestyle many romanticize, but few truly understand. However, Arman is more than just a cowboy, singing her lonely songs. The chapters of her life so far make for a story much richer than a common western archetype. Unafraid to take new paths, Arman has traveled across the country — from the farmlands of the Midwest to the bustling streets of New York City — writing songs, working as a ranch hand, and practicing an Agrarian lifestyle. It was during her childhood, full of folk and country music, in rural Ohio that she was first drawn to the guitar. Her deep dive into songwriting didn’t happen until her early 20s when she moved to central Virginia to resume her interest in horsemanship and agriculture on a friend’s small farm.

It was there, knee-deep in barn chores, that she found inspiration in female songwriting icons. The quiet isolation led to inspiration and a tangible way to heal through story. “Singing is my meditation, and I learned that in the imagery of Virginia,” Arman says of her growth during that time of her life. “It sets the stage for healing.”

With the encouragement of friend and fellow musician Kiki Cavazos, Arman began to feel more comfortable with a guitar in her hand. They often played together when passing through, and Arman credits Cavazos as her main inspiration. After Virginia, she headed west, taking a job at a farm in California where she spent four years working the land and learning livestock agriculture. In the sunburnt hills of ranch country, Arman fell in love, fell out of love, and found the beginning of her new record. Looking for a change of scenery, she found herself in Fayetteville, Arkansas, where many of the songs that would make up her self-titled debut record first came to life.

In the midst of this intensely creative period, Arman’s close friend overdosed. She headed to New Orleans in the wake of this loss and surrounded herself with the support and inspiration of several of her oldest and dearest friends. While in the Crescent City, Arman often joined her friend Nick Shoulders, playing shows around the Lower 9th Ward and downtown New Orleans. These stints on the stage served to bolster her confidence to perform and became just the catalyst Arman needed to keep going.

As fate would have it, Arman was invited to ranch sit in Montana, where she was contacted by content creators at Western AF at the behest of several New Orleans musicians. Not too long after the unexpected success of her Western AF session, Arman began an intensive six-day recording session at Mississippi Studios in Portland, Oregon. Hopeful, and longing to capture the essence of deeply personal stories from her life, she teamed up with producer Bronson Tew (Dom Flemons, Seratones, Jimbo Mathus) of Dialback Sound and tracked nine songs.

“Recording these songs brought me back to the times that inspired them, but instead of reliving the pain, the studio magic empowered me to overcome it,” Arman says of her experience.

The first song she wrote for the record, “Half a Heart Keychain,” started off as a slow and somber breakup tune. With the help of Tew, the track morphed into a triumphant and transformative anthem for women. Moving forward from some of life’s most painful moments is in many ways the thread that ties each song together. Songwriting became part of Arman’s dialog with life, translating the experiences in not only lyrics, but also performance.

“Most people would try to find a therapist, but at the time that wasn't something that I had access to, so I just started playing music because it was cathartic,” she explains. “It’s very, very meditative for me.”

While tracks like “Half a Heart Keychain” and “Too Late to Write a Love Song” allowed Arman to heal, her debut LP is far from just a breakup album. Her songs are rooted in the poetic imagery of country life, from the beauty of its simplicity to the isolation and loneliness that can often overtake its inhabitants.

“Old Maid’s Draw” is a song about the landscape where Arman has worked, an area mythologized by locals with the tale of a woman who lived alone in the early settling days of Montana. “Problems Of My Own” is rooted in classic country songwriting, exploring the darkness that can lurk within family life. With simple references to classic scenes, such as bacon frying in cast iron pans, the song explores the urge to escape.

Arman’s take on Kris Kristofferson’s beloved classic “Help Me Make It Through The Night” fits perfectly alongside her originals, with her aching vocals at center stage. “Barbed Wire” was written during her time working as a ranch hand and wisely recalls the seclusion and longing that can come while living on the range.

“A lot of folks distract themselves with work. It is a common trait of cowboys and ranchers alike,” Arman says. “In the song ‘Barbed Wire’ the cowboy understands who he is, but not how he relates to other people, so it is easier to be alone.”

Arman herself has chosen to take a different path, embracing isolation and interpreting her life through the rural landscape that adorns her lyrics. With fierce honesty and a voice that immediately commands attention, on her debut record, Riddy Arman has proven herself as much more than a cowboy.

Double vinyl LP pressing. If you could call out to your country, what would you say? When Eric Bibb embarked on the title song that would galvanize Dear America, the songwriter found himself unpacking a seven-decade relationship with a partner of dramatic extremes. Bibb has known many different Americas, the good, the bad and the ugly. Recorded before the pandemic shuttered the world's recording studios, the chemistry on 'Dear America' is palpable, with each musician playing with the emotional commitment demanded by the material. In November 2019, the bandleader hit Brooklyn's Studio G to track the album with producer/co-writer Glen Scott, along with a studio band featuring the talismanic drummer Steve Jordan and Memphis guitar sensation Eric Gales. What resulted is a thoughtful record that brings Bibb full circle, taking the pulse of these febrile times while returning the songwriter to his proud roots in New York. "My home now is Sweden," says Bibb, "But New York City was where I came of age. So to be there, recording this album that had so much to do with my whole journey - it was really inspiring." And yet, just as the history of the United States has both light and shade, so does Dear America. It's a record that laces it's exploration of the nation's most poisonous issues with hope, love and a brighter road ahead. All is not lost, stresses Bibb, and neither are we. Bibb leaves no doubt that the future is ours to write.

A Beautiful Life is the first new music from Heartless Bastards since 2015’s Restless Ones. The album was produced by Kevin Ratterman (Strand Of Oaks, Jim James, White Reaper). Album performers include Andrew Bird on “The River,” Greggory Clifford (White Denim) on drums, Jesse Chandler (Mercury Rev, Midlake) on keys, flute, clarinet; David Pulkingham (Patty Griffin) on guitar, Bo Koster (My Morning Jacket) on keys. The music is a melange of blues rock, rock and singer-songwriter which surround themes about self-love and awareness, mental health, the environment, and consumerism.

It’s finally here – Metallica’s eponymous album, better known as The Black Album – is remastered and will be available everywhere on September 10^th. The Black album is one of the most commercially successful and critically acclaimed records of all time, with global sales of over 35 million, and contains a series of unrelenting singles, “Enter Sandman,” “The Unforgiven, “Nothing Else Matters, “Wherever I May Roam,” and “Sad But True.” Remastered by Bob Ludwig at Gateway Mastering and overseen by executive producer Greg Fidelman.

 

Remastered edition of Metallica on double-LP 180-gram vinyl. Includes an MP3 download card.

The Spaceman Reissue Program edition of Ladies & Gentlemen We Are Floating In Space promises to give those recordings the fullest spectrum audio and physical treatment they’ve deserved since the original release. It will be the third in this series of 180g double albums with the lacquer cut from original sources by Alchemy Mastering, presented in a gatefold jacket adorned by reworked art by Mark Farrow, and available in both a standard black vinyl pressing and limited edition Neptune Blue vinyl, as well as CD.

The Spaceman Reissue Program edition of Ladies & Gentlemen We Are Floating In Space promises to give those recordings the fullest spectrum audio and physical treatment they’ve deserved since the original release. It will be the third in this series of 180g double albums with the lacquer cut from original sources by Alchemy Mastering, presented in a gatefold jacket adorned by reworked art by Mark Farrow, and available in both a standard black vinyl pressing and limited edition Neptune Blue vinyl, as well as CD.

Specially Curated By Island Records' Founder, Chris Blackwell! Volume Two Covers 1962-1969

Featuring John Martyn, Jimmy Cliff, Nick Drake & More!

Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs, featuring his hand-picked tracks that correspond with his and Island's legendary history. Volume Two of The Vinyl Series, a 9-track album, includes John Martyn, Jimmy Cliff, Nick Drake, and more.

VINYL SERIES VOLUME TWo

Amyl And The Sniffers - "Amyl and The Sniffers" [Gold LP] Amyl and The Sniffers are a grimy pub rock band from Melbourne, Australia. The band take their cues from a diverse mix of hard rock, Aussie punk, and country. They set out to have as much fun as possible and scared up a whole lot of fans along the way. Limited Edition Gold LP pressing of their 2019 debut album from ATO Records. Indie Exclusive Limited Edition version Title: [Gold LP]

Limited green colored vinyl LP pressing. Doylestown, PA quintet Balance and Composure formed in 2007 with members Jon Simmons (vocals, guitar), Erik Petersen (guitar), Andy Playmaker (guitar, backing vocals), Matt Warner (bass) and Bailey Van Ellis (drums). Their debut album Separation, arrived in 2011, finding critical acclaim and was supported by consistent touring with the likes of Circa Survive, La Dispute, Title Fight and Touché Amore. In 2013 they released their second album, The Things We Think We're Missing, which peaked at No. 51 on the US Billboard 200, as well as breaking into the Top 20 of the Independent Albums Chart, the Modern Rock/Alternative Albums and Rock Albums Chart. Their third and final album to date, 2016's Light We Made, was produced by Will Yip and saw the band take a giant leap in sound and scope. Home to the singles "Postcard" and "Afterparty."

Double vinyl LP pressing. Yaoundé, in the 1970's, was a buzzing place. Every neighborhood of Cameroon's capital, no matter how dodgy, was filled with music spots but surprisingly there were no infrastructure to immortalize those musical riches. The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an Adventist church with some good recording equipment and many of the artists on this compilation recorded their first few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it.

Limited edition picture disc. Following in the tradition laid down by Cannabis Corpse's earlier releases, each song on 2011's Beneath Grow Lights Thou Shalt Rise is inspired by a classic death metal track - this time around Morbid Angel and Deicide get the Cannabis treatment! Cannabis Corpse are not a joke band. Sure, they'll fire up a bowl and chug a beer, but then they'll rip your face off with a brutal old-school death metal assault, the likes of which haven't been seen since the seeds of the genre first began to grow.

At the top of 2020, after a year of traversing the globe in support of 2019’s Run Fast Sleep Naked, Nick Murphy began creating music that simply felt good. Though the singer had retired his billionstreaming Chet Faker project four years prior, the new songs he was working on in his New York City studio had an energy reminiscent of his earlier work. Reviving the project “wasn’t on my radar” at the time, Murphy admits, but the next thing he knew, he had a full album. The result is Hotel Surrender, a radiant 10-track LP full of swaggering bass lines and electrifying melodies that reintroduces Chet Faker to the world – and to Murphy himself. Like his debut LP, 2014’s Built on Glass, Murphy wrote and produced Hotel Surrender solely on his own, finishing most of the songs before COVID-19 hit in March 2020. He admits that before Hotel Surrender, he had never approached his process with such ease. This time, as the album title suggests, he surrendered to the music. “There was this, like, unconsciousness—not thinking, but just feeling, letting it come out and letting it steer itself,” Murphy says. “The great lesson for me was that I could write from a place of joy. I was also just being kind to myself. None of this music was hurting, it just felt good. It made me feel better, and it helped me be better.”

Elvis Costello and award-winning producer, Sebastian Krys, have brought together a stunning international cast of some of the biggest Latin rock and pop artists from around the globe to interpret Elvis Costello and The Attractions' album, This Year's Model, entirely in Spanish. The inspired Spanish-language adaptations are set to the band's classic studio performances, culled from the original master recordings, which have been newly mixed by Krys. Available on black Vinyl.

Also Available:


Elvis Costello & The Attractions' album, This Year's Model, which has been newly remastered.

Originally released in 1978, Elvis Costello & The Attractions' album, This Year's Model, has been newly remastered. Available on 180-gram black vinyl with the addition of "Big Tears" and "Radio Radio."

Also Available:


Spanish Model featuring a stunning international cast of some of the biggest Latin rock and pop artists from around the globe interpreting Elvis Costello and The Attractions' album, This Year's Model, entirely in Spanish.

Limited colored vinyl LP pressing. Virginia based death/thrash metal obsessed with horror, demonology, the occult, and the extinction of the human race, The Day of the Beast's fourth album is blackened riff-heavy death metal at it's most extreme. Dripping with pure aggression and channeling evil through all inputs, Indisputably Carnivorous is the soundtrack to every raging nightmare brought to life. Shining a light on the darkest, filthiest corners of the human psyche by way of apocalyptic, horror-inspired storytelling - the band has created a monster. Each track revolves around it's own specific tale or theme, with inspiration coming from the likes of Clive Barker, Bram Stoker, and Lovecraft. The album name is taken from the Graham Masterson novel The Wells of Hell, and the title track is primarily based on that book. Recorded August - October 2020, in Hampton Roads, Virginia with the band overseeing all elements of recording the meat of the album themselves, they then enlisted Tony Petrocelly of Trepan Studios to track vocals. The album was mixed and mastered by Zach Ohren at Castle Ultimate Studios. Taking control of production themselves allowed the band - which features Steve Redmond from fellow Prosthetic signees, Foretoken - to set their own pace - they took the time to look back over past output, cherry-picking the elements they rated the most and bringing them together in one cohesive rager of an album. The result is a whiplash inducing thrash-via-death metal record; celebrating the legacy of the genre whilst adding their own indisputably blood-thirsty, indisputably abominable, Indisputably Carnivorous spin on it.

Tommy Boy reissues exclusive limited edition pressing of Digital Underground's"Sex Packets" on, 2021, as part of Tommy Boy's 40th anniversary celebrationOriginally released in 1990, Digital Underground's debut album, "Sex Packets,"forever changed hip-hop and helped cement the Shock G lead outfit in the historybooks as one of the music businesses most innovative groups. Heavily influenced byvarious funk bands, Digital Underground developed a sound all their own, creatingtimeless records that have stood the test of time."Sex Packets" was certified platinum by the RIAA. The album reached #24 on theBillboard 200 and #8 on the Top R&B/Hip-Hop Albums chart. Sex Packets releasedthe two lead singles: "Doowutchyalike" (which peaked at #19 on the Hot Rap Singles,#20 on the Hot Dance Music/Maxi-Singles chart and #29 on the Hot R&B Singleschart) and "The Humpty Dance" (which reached #11 on the pop charts, #7 on theR&B charts, and #1 on the Billboard Rap Singles chart)."Sex Packets" was included in both The Source's"100 Best Rap Albums Ever"&the book"1001 Albums You Must Hear Before You Die."Digital Underground'sgenre-bending production and unmatched charisma have made the group legendsamongst hip-hop heads and music lovers around the world.

TOMMY BOY REISSUES EXCLUSIVE LIMITED EDITION PRESSING OF DIGITALUNDERGROUND'S "THIS IS AN E.P. RELEASE" ON SEPTEMBER 10, 2021, AS PART OF TOMMY BOY'S 40th ANNIVERSARY CELEBRATIONWith the recent passing of innovative artist/composer/MC, Shock G, once again bringing the geniusof Digital Underground to the forefront of mainstream consciousness, new and old fans alike have beendigging into the groups catalog as they seek solace and mourn the unexpected passing of the group's leader.While Digital Underground's debut album, "Sex Packets, " set the tone for the groups meteoric rise andhelped them forever change hip-hop, they continued to wow fans through the years with several gamebendingprojects. In 1991, they released their now cult-classic, "This is an E.P. Release, " which containedtwo singles, "Tie the Knot", and, "Same Song", that were featured in the film, "Nothing But Trouble, " starringDan Aykroyd, Chevy Chase, Demi Mooreand John Candy.The projects lead single, "Same Song, " also holds major historical significance as it served as the debut singlefrom then up-and-coming MC Tupac Shakur. Tupac was also featured in the official video portraying an Africanking alongside cameos from lead actor Dan Aykroyd and West Coast legends Dr. Dre and Eazy-E. The projectwent on the receive gold-certification from the RIAA and has since become and often-overlooked gem amongsthip-hop aficionados worldwide.

Frances Forever can spin anything into sunshine. As the project of Boston-area singer-songwriter Frances Garrett, its myriad moods can send listeners reeling into romance or off floating in existential space. Garrett balances their familiarity with extremes with an undeniable ear for melody and a gift for writing tracks that could live at home anywhere on the pop timeline. paranoia party, the project's first EP in the wake of TikTok explosion 'space girl,' rockets forward with the past half-century of radio magic in its back pocket. Atop this glitter-shocked display, Garrett spills their guts about fumbling their own power. Take one listen to 'space girl,' Frances' latest charmer of a single that's rocketing up indie charts and TikTok counts despite a disaster mission of a year. The track continues to grow, with 80MM+ streams globally, 57 Viral Spotify Charts, 265k average daily streams, and over 535 million video views and 500k videos created on Tik Tok. Frances Forever has been hotly tipped as one of the top artists to watch in 2021: featured in lists by Rolling Stone, SPIN, Amazon Music, GQ UK, Uproxx, and recently named as one of Pigeons & Planes best new artists. paranoia party further seals their fate as a breakout act, showing off Frances Forever's mastery of vintage texture and 2021 attention spans in equal measure. From the doo-wop glaze of opener 'depression' to the horn-flecked indietronica of 'daytime,' paranoia party carves its identity from stopovers in darker, braver territory. Those enchanted by 'space girl' have plenty to root for, though, as the EP's title track serves as its boldest mission statement, stacking a story of college-party anxiety against a circus-tent waltz that glitches and stutters in line with Garrett's narrative confidence.

Unlike most of us, Peter Sagar - also known as Homeshake - was staying at home a lot, long before the pandemic. Sagar wrote the majority of his fifth studio album, Under the Weather, in 2019, when he was going through a long, unrelenting period of sadness. "I was in a deep, deep depression," he recalls of that time period now. "Tours were breaking me. It was awful." Sagar and his partner were living in Montreal and while everyone was out being social, he was inside listening to ambient music, binging Star Trek, and writing songs. (Sound familiar?) "It was a bit of a dark pit," he says. "That's kind of what the whole album is about."Under the Weather follows Sagar's life and the depression that consumed him in 2019 - after a brief album intro, it jumps right into "Feel Better," a reflection on attempting to buck up when the weather outside is grim. The album is hazy and moody, the pace slow as syrup, and from beginning to end, a fog falls over every synth and guitar line. In "Inaminit," Sagar cancels plans when he's feeling low; the closing track, "Tenterhooks," sees Sagar's deliverance into the depths of despair: "Feel myself drying up / feel myself turn into dust," he sings over a funhouse mirror synth. "Oftentimes when you're in a dark place, you're supposed to journal and that helps release the pressure," Sagar says. "For me, it always found it's way into the music."Capturing the cloudy sound of a depressive funk was no simple feat, especially in the headspace Sagar was in for over a year. For that reason, he decided to enlist his friend, Jerry Paper's Lucas Nathan, to help with production on the record. Having Nathan contribute helped Sagar dial back some of "dry, pristine digital sound" that defined his fourth studio album, Helium, and add back personal analog touches that drew people to the Homeshake project in the first place. "I didn't realize how much I missed having a second set of ears. It's pretty invaluable," Sagar says. He would send all the of tracks back and forth with Nathan over the course of 2019, which made the process a longer one than he was used to. "There are a lot of things that I probably wouldn't have done that Lucas did do. I would tend to do a lot of softening of things, a lot of making everything super bassy and gentle. Lucas was aware that sometimes you needed some punch and grit." To Sagar, those additions made the record what it is - a melodic, honest look at personal emotional struggle.As Sagar readies it for release this September, the record he wrote about feeling isolated, alone, and despondent has begun to seem eerily prescient. "People will probably think that I made Under the Weather during or about Covid," Sagar reflects now. "I was just already living my life that way." For Sagar, the feelings he experienced over the course of that year are far from over - "I've been writing about feeling isolated my whole life," he says - but with age, he has come to understand them better. "I had a fairly clear idea what the album was going to be like based on where I was emotionally at the time," he says about Under the Weather. "I just try to make music that is honest about how I'm feeling."

Vinyl LP pressing. Includes digital download. Made during summer 2020, Loraine James' second Hyperdub album, Reflection, is a turbulent expression of inner-space, laid out in unflinching honesty, offering gentle empathy and bitter-sweet hope. Reflection further develops a unique pop sensibility realised on last year's Nothing EP, while tones of Drill and R&B seep through into this collection too. In contrast to the brash splashes of 2019's For You And I LP and the grimey anger of 'Nothing', Reflection is pared-down and confident, taking the listener through how last year felt as a young black queer woman in a world that has suddenly stopped moving, the arc of the album peppered with Loraine's diaristic confessions. Travelling effortlessly from gentle pop-trap to downcast drill, from Drexciyan techno glide to airy R&B, 'Reflection' is a brave step forward for a unique and creative 21st century musician.

Colemine Records is proud to present a reissue of the debut album from Jr. Thomas & The Volcanos entitled Beware. Junior Thomas aka Thomas McDowall is a songwriter, musician, vocalist and producer born north of Minneapolis, MN. He developed a sincere devotion to classic Jamaican music at a young age, listening to such artists as Dave Barker, The Bleechers, The Wailers, Phyllis Dillon and Alton Ellis."I wanted to make a record that was honest and true to the golden era of Jamaican music" says Thomas. After several conversations with reggae producer Brian Dixon, they both realized they were on the same page. Thomas showed up to Dixon's Volcano Lounge studio in Los Angeles a few weeks later ready to record. With Thomas and Dixon as the brainchildren and nucleus of the project, they began assembling the musicians now known as The Volcanos.The Volcanos are a collective of Southern California's most dignified musicians, specializing in Jamaica's "Golden Era" sound. Members of the Volcanos have worked with countless reggae legends, most notably Jimmy Cliff's 2012 Grammy award winning album Rebirth. Other notable works include The Aggrolites debut Dirty Reggae and The Aggrolites, Hepcat Push n' Shove and Right on Time, Western Standard Time's debut A Big Band Tribute to the Skatalites and Tim Armstrong's (Rancid) debut A Poet Life. On Transparent Orange color vinyl.

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.

ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.

KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.