May 2023 Sale

Limited 180gm silver colored vinyl LP pressing. Out of This World is the fourth studio album by the Swedish rock band Europe, originally released in 1988. Four singles were released from the album: "Superstitious", "Open Your Heart", "Let the Good Times Rock" and "More Than Meets the Eye".

Tracks

• 1 Superstitious
• 2 Let the Good Times Rock
• 3 Open Your Heart
• 4 More Than Meets the Eye
• 5 Coast to Coast
• 6 Ready or Not
• 7 Sign of the Times
• 8 Just the Beginning
• 9 Never Say Die
• 10 Lights and Shadows
• 11 Tower's Callin'
• 12 Tomorrow

Like the many Banded Stilts that spread across the cover of her newest album Flood, Stella Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as an artist among the flock, and how abundant one individual can be. Flood is Donnelly's record of this rediscovery: the product of months of risky experimentation, hard moments of introspection, and a lot of moving around. Her early reflections on the relationship between the individual and the many can be traced back to Donnelly's time in the rainforests of Bellingen, where she took to birdwatching as both a hobby and an escape in a border-restricted world. By paying closer attention to the natural world around her, she recalls "I was able to lose that feeling of anyone's reaction to me. I forgot who I was as a musician, which was a humbling experience of just being; being my small self." Reconnecting with the 'small self' allowed Donnelly to tap into creative wells she didn't know existed. Soon songs were coming to her in a way she could not control and over the coming months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the country, often finding herself displaced due to border restrictions, a tough rental market, and once from the joys of finding black mould in the walls. "I had so many opportunities to write things in strange places," Donnelly remarks, having passed through Fremantle, Williams, Guilderton, Margaret River and Melbourne. "I often had no choice about where I was. There's no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about." With new locations came new approaches. "It freshened things up for sure," Donnelly says, and writing with band members Jennifer Aslett, George Foster, Jack Gaby and Marcel Tussie, soon began to feel like kindergarten play. "They all brought themselves to the record in such a beautiful way. A lot of us were playing instruments that weren't our first instrument: me on piano, Jack doing all these synth sounds, George trying a bunch of stuff out, Marcel sang! We were all like 'plink plonk'; it was quite vulnerable for all of us." Along with the support of her band members, co-producing the record beside Anna Laverty and Methyl Ethyl's Jake Webb helped to foster an important spontaneity in the studio. With Webb, Donnelly could "dig in" and discover a "forward-leaning sound" she'd been searching for, while Laverty's ability to "capture the piano" and discern the "perfect take" allowed the songwriter to take further risks. Straying from the easier option of writing on an electric guitar, Donnelly's move to piano imbues her new work with a fluidity and vulnerability that befits the record's introspective nature. Donnelly had not played much piano - what she fondly calls "a very easy instrument to f*** up" - since her early childhood and there was something wonderfully playful and poignant about climbing back up onto the piano stool and finding her fingers. Flood revels in this. In "Restricted Account", the piano quietly dances back and forth with her vocals, while the warmth of the fluegelhorn blooms above; piano again drives the band along in "Move Me" as the understated horn returns and Donnelly later aptly sings, "You're the bit that holds us all together". These patterns flicker across the record, dispelling any fears of the record turning out disjointed from it's origin story. Much of the album is ultimately united by Donnelly's intuitive songwriting, where listeners can expect commanding assertive verses, euphoric shimmery choruses and killer bridges; and just when you think you really know what to expect, something alien will arrive: the offspring of the band's "plink plonking". Subverting expectations and keeping people on their toes has long been a strategy of the 'firstborn' in Donnelly. "I can't sit on something for too long," she laughs, "it's an oldest child thing: you strive to entertain; you've got to fight for your spot to keep someone engaged." The child's fight for their spot at the table, both in and out of the home, appears throughout Flood in different personas; one offers a bold exclamation about being a child the rest of her life, while another grapples over whether to wear or throw away her beads from when she was five. In "Morning Silence", one declares "Same old fight was had today / Great grandchild will see the same." Throughout the record, Donnelly looks back at history and wonders where she's come from and where she'll go next. In opener "Lungs" we hear her plead, "History again teach me like a friend what you know and why," and this curiosity extends into many of the songs exploring relationships, be them familial, romantic or platonic. "I do love observing human dynamics," Donnelly says. "Dynamics between old best friends, or dynamics between housemates, or a relationship where the two people are broken up and haven't spoken in years. I like getting into the mind of someone who we've all been at some point." This interest expresses itself in a unique way on the record as Donnelly regularly 'plays dress-up', adopting different faces and personas to help her distill her truest self. In "Lungs" she writes from the point of view of a child whose family has just been evicted, while "Flood" invites us to look through the eyes of someone dating Donnelly, with lyrics frank and at times damning. Looking back at the Banded Stilt, Donnelly ultimately appreciates how when "seen in a crowd they create an optical illusion, but on it's own it's this singular piece of art." While each song on Flood is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance: her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of this record, and although it would take an ocean to fathom everything she feels, it's well worth diving in.

• 1 Lungs
• 2 How Was Your Day?
• 3 Restricted Account
• 4 Underwater
• 5 Medal
• 6 Move Me
• 7 Flood
• 8 This Week
• 9 Oh My My My
• 10 Morning Silence
• 11 Cold

Atreyu ushered in a new movement in heavy music. They've broken into the Top 10 in the Billboard 200 more than once; 2 of their albums are certified gold. Yet, 2 decades since the release of their first album, Atreyu is just getting started. Baptize is a definitive work for a new era. Atreyu recorded Baptize w/ producer John Feldmann. Guests include Jacoby Shaddix & Travis Barker. Songs like "Warrior," "Catastrophe," & "Save Us" are massive. Blue LP. Gatefold Jacket.

Tracks

• 1 Strange Powers of Prophecy
• 2 Baptize
• 3 Save Us
• 4 Underrated
• 5 Broken Again
• 6 Weed
• 7 Dead Weight
• 8 Catastrophe
• 9 F***ed Up
• 10 Sabotage Me
• 11 Untouchable Feat. Jacoby Shaddix of Papa Roach
• 12 No Matter What
• 13 Oblivion Feat. Matt Heafy of Trivium
• 14 Stay
• 15 Warrior Feat. Travis Barker

Released here on vinyl for the first time ever, this collection of rare recordings by Australian rock legends Fraternity was unearthed from the archives of original band manager Hamish Henry and curated by author and co-manager Victor Marshall whilst performing research for his book on the band, Fraternity: Pub Rock Pioneers’ (Brolga Publishing 2021).

Original cover artwork by renown Australian artist Vytas Serelis who also designed the cover artwork for Flaming Galah. The deluxe package includes a gatefold jacket packed with original press clippings and previously unpublished period band photos plus extensive liner notes by Victor Marshall.

The album features legendary AC/DC front man Bon Scott on lead vocals. His work with Fraternity put Scott on the radar of George Young, AC/DC coproducer and older brother of Angus and Malcolm, eventually leading to Scott replacing then-frontman Dave Evans in 1974.

Side A
1. Second Chance (3:17)
2. Tiger (2:30)
3. Going Down (5:00)
4. Requiem (4:50)
5. Patch of Land (3:30)

Side B
6. Cool Spot (6:00)
7. Hogwash (5:35)
8. Chest Fever (From Fraternity Special) (6:20)

Side C
9. Little Queenie (4:57)
10. The Memory (4:00)
11. Just Another Whistle Stop (4:10)
12. No Particular Place To Go (8:26)

Side D
13. Livestock (Vince Lovegrove w/ Fraternity) (2:36)
14. Rented Room Blues (Vince Lovegrove w/ Fraternity) (2:13)
15. Get Myself Out Of This Place (Vince Lovegrove w/ Fraternity) (3:19)
16. That's Alright Momma (Vince Lovegrove w/ Fraternity) (3:32)

First pressing of the score from the 2023 British slasher film that generated viral buzz for its murderous take on some of our childhoods' most beloved characters. Pooh and Piglet have become feral and bloodthirsty murderers who terrorize Christopher Robin and his friends when he returns to the Hundred Acre Wood many years after leaving for college. Andrew Scott Bell's music in the film, complete with a beehiveolin (a beehive made from a violin), is a special treat for horror fans!

RSD Black Friday 2023 Exclusive
LIMITED TO 2200
Blood & Honey (Red-Yellow) Split Colored 150 gram Vinyl
Deluxe Gatefold

Side A (19:32):
1. In Which We Are Introduced To Winnie-The-Pooh (2:07)
2. In Which Christopher Robin Leads An Expotition (6:26)
3. Hallo, Pooh Bear (1:33)
4. Winnie-The-Pooh: Blood And Honey (1:18)
5. Hundred Acre Wood Chipper (2:36)
6. Car Trouble (1:33)
7. In Which Piglet Is Entirely Surrounded By Water (3:00)
8. Oh, Dear, Oh, Dear, Oh, Dear (0:59)

Side B (19:02):
9. A Very Large Jar Of HUNNY (2:50)
10. In Which Piglet Gets Into A Tight Place (2:26)
11. Hundred Acre Hoodlums (3:25)
12. In Which Pooh Tries Ridesharing (3:04)
13. Pooh Gives Maria A Head Start (2:25)
14. In Which Pooh Gives A Party And We Say Goodbye (4:52)

Karl Wallinger defined the ornate, Beatlesque World Party sound on their debut Private Revolution, and he never strayed from that blueprint over the next decade, even if he augmented it with other '60s and '70s pop flourishes. 1997's Egyptology finds Wallinger at his most conservative, sticking to the basic late-'60s pop and psychedelia that distinguished Private Revolution and Goodbye Jumbo. As always, his production is tasteful and subtle, revealing new layers of sonic detail on each listen, and his songcraft is sturdy and tuneful, if not remarkable. There are no weak moments on the record. It's not flashy or extravagant, and it delivers a collection of fine pop tunes without pretension, and that alone makes it a better album than the ambitious Bang! Remastered in 2021 and reissued on gatefold 180g vinyl 2LP with a bonus side recorded live in NYC 1997.

1. It Is Time
2. Beautiful Dream
3. Call Me Up
4. Vanity Fair
5. She's The One
6. (Vocal Interlude)
7. Curse of the Mummy's Tomb
8. Hercules
9. Love Is Best
10. Rolling Off a Log

LP2

1. Strange Groove
2. The Whole of the, Night
3. Piece of Mind
4. This World
5. Always
6. It Is Time (Live)
7. Beautiful Dream (Live)
8. Rolling Off a Log (Live)
9. Hercules (Live)
10. Vanity Fair (Live)

Eddie Vedder - "Long Way" - Limited Edition 7-inch vinyl of Eddie Vedder's new tracks "Long Way" and "The Haves." Both tracks are off of his forthcoming solo album, Earthling, to be released in 2022. Version Title: [7" Single].

• - Disc 1 -
• 1 Long Way
• - Disc 2 -
• 1 The Haves

Helen Ballentine's spellbinding first full-length album Quiet the Room

is the sound of a window opening, a barrier dissolving. Across these fourteen tracks, the outside world seeps in and the inside world crawls out. The result is a stunning and quietly moving work that reflects the journeys we take through the physical and spiritual realms of ourselves in order to show up for the world. While writing the album in the summer of 2021, Ballentine drew inspiration from her childhood home in Mount Vernon, NY. What she set out to capture on Quiet the Room was not the innocence of childhood, as it is so often portrayed, but the intense complexity of it. Past and present merge Escher-like in this dreamlike space laced with elements of fantasy, magic, and mystery. Musically, this translates into a sound that feels somehow weighty and ephemeral all at once, like a time lapse of copper corroding. To capture the effortless blend of electronic, ambient, folk, and rock, Ballentine and her partner and collaborator Noah Weinman brought in producer Andrew Sarlo to record at Chicken Shack studio in Upstate New York, close to where Ballentine grew up. "We wanted every song to have that little twinkle, but also a sense of crumbling," she says. These songs thrum with moments of anxiety that boil over into moments of peace, as on lead single "Whatever Fits Together," which chugs to a ragged start before the gears catch and ease. On "It's Like a Secret," Ballentine struggles to connect and let people in, recognizing that no one can ever fully know our inner worlds and that to understand each other is to cross a barrier and leave a part of ourselves behind. And yet, on closing track "You are my House," she finds a way to reach out. "You are the walls and floors of my room," she sings in perfect, hopeful harmony. As the album cover invites, these are dollhouse songs to which we bend a giant eye, peering into the laminate, luminous world that Ballentine has created. Like a kid constructing a shelter in a patch of sharp brambles, she reminds us that beauty and terror can exist in the same place. The complexities of childhood are so often overlooked, but through these private yet generous songs, she gives new weight to our earliest memories, widening the frame for us-even opening a window.

• 1 They Quiet the Room
• 2 Building a Swing
• 3 Whatever Fits Together
• 4 Whistle of the Dead
• 5 Lullaby in February
• 6 Pass Through Me
• 7 Could It Be the Way I Look at Everything?
• 8 Outside, Playing
• 9 It's Like a Secret
• 10 Sticker
• 11 Window Somewhere
• 12 (Secret Instrumental)
• 13 Quiet the Room
• 14 You Are My House

‘Established!’ is the new album from RP Boo, his fourth full-length for Planet Mu. In 2013, Mu released his debut ‘Legacy’ – an acclaimed album that put RP on the international music map, acknowledging his unique role in the creation of the Chicago-developed art form known as Footwork. It’s been said that RP Boo is to Footwork what Juan Atkins is to Techno. The start. The Soul. On ’Established!’ RP looks back to that time when he was inventing Footwork, going out listening to disco and linking with the creators of house such as Paul Johnson. For tracks like ‘Another Night To Party’ or ‘Finally Here (ft. Afiya)’ he takes himself back in time to when he started DJing, playing ghetto house and being inspired by jack tracks. These moments were the foundation point to create his own style, elevating his sound into new territories for the future.

Tracks

1. All My Life
2. How 2 Get It Done!
3. Haters Increase The Heat!
4. Oh!
5. Finally Here (ft. Afiya)
6. All Over
7. Just Like That!
8. Be Of It!
9. Now U Know!
10. Ivory Surface
11. Beauty Speak Of Sounds
12. Another Night To Party

• 1 Phases (FT. Sharrif Simmons)
• 2 Come Visit Me
• 3 Interlude
• 4 Shee
• 5 Leave It
• 6 I Am Close to the River
• 7 Feel
• 8 A Conversation
• 9 Everything Is Different (To Me)
• 10 Wy
• 11 Otto's Dance

When Porridge Radio's Dana Margolin, one of the most vital new voices in rock, began to consider the themes of their new album, three vivid words emerged: joy, fear and endlessness. She had called the band's third full-length, Waterslide, Diving Board, Ladder To The Sky, an image that's partly inspired by a collage by the surrealist artist Eileen Agar, and evokes the ducks and dives, slippery slopes and existential angst of life. But Dana was also drawn to the story of Jacob's Ladder from the Old Testament which, "symbolises the ups and downs of human life, of virtue and sin," she explains. This idea that no one emotional state is binary came like a lightning bolt. "Within this album the feelings of joy, fear and endlessness coexist together," says Dana. That mix of emotions has defined Porridge Radio's past two years to say the least. It's a strange sensation, becoming a breakthrough band who are breathlessly championed by every major music site, without being able to experience any of it in the real world. When they released their 2020 album Every Bad, they were about to fly to South By Southwest, support Car Seat Headrest across the States, and then tear up the festival circuit back home. But it was all cancelled due to the pandemic. In spite of that, they've managed to become one of the UK's most thrilling acts, from DIY darlings to a Mercury-nominated tour de force in the space of less than a year. Perhaps that's because their barbed wit, lacerating intensity and potent blend of art-rock, indie-pop and post-punk sounds like little else around. For Dana and drummer Sam Yardley, keyboardist Georgie Stott and bassist Maddie Ryall - who met in Brighton and formed a band in 2014 - global recognition had been a long time coming, after years of booking their own tours and self-releasing their music. But in some ways, Dana welcomed the pause. She had been struggling to reconcile the lo-fi Dana of the Brighton scene with Bona Fide Indie Star Dana, hurtling into a new league - not only a musician but an artist in every sense, who has painted all three of Waterslide, Diving Board, Ladder To The Sky's expressive covers. Suddenly, there were magazine covers instead of fanzines. Then lockdown landed. "It's actually terrifying to be seen," she says. "I was having panic attacks all the time, because I was aware of being perceived in a new way." Margolin was quickly becoming regarded as one of the most magnetic band leaders around with an ability to "devastate you with an emotional hurricane, then blindside you with a moment of bittersweet humour" (NME). But if Every Bad established Dana's bravery in laying herself bare, her band's third record takes that to anthemic new heights. Waterslide, Diving Board, Ladder To The Sky is the sound of someone in their late twenties thrashing out how they feel during these confusing, frustrating, stop-start years, facing down the disappointment of love, and life, and figuring out how to exist in the world, without claiming any answers. Dana's songwriting and delivery is more confident, with the emotional incisiveness of artists like Mitski, Sharon Van Etten and Big Thief. While there are moments of guttural release, she also finds soft power on songs like the piano-led 'Flowers' and the closing title track, where she sings over an acoustic guitar. "I used to think I had to be loud to be heard," she admits, "but now I'm definitely less afraid of being gentle." Thematically, Waterslide, Diving Board, Ladder To The Sky is as unwavering as ever. Existential dread, death, health anxiety, loneliness and the comfort of connection are wrangled with. Dana's streams of consciousness turn the mirror, often unflatteringly, on her weaknesses and she attempts to take ownership of her "bad habits". "I'm embarrassed by how vicious I can be sometimes," she admits. The songs have a physicality about them, a fleshy rawness, but they're also open to risk, dealing with the powerful catharsis that occurs when you allow the full intensity of an experience to take hold - perhaps something that we instinctively resist. "Most people are terrified about confronting emotion," says Dana, "or of reckoning with yourself. But writing has always been a place where I can lean into that." It's what's always set them apart from their peers in UK guitar music and on WSDBLTTS they sound more in line at times with the American emo greats. "We're making music in a scene that is very emotionally repressed," she continues, "sometimes if I listen to nu-metal or emo lyrics, I find that we seem to fit in better emotionally in that world. They're as cringe as me. ' The band's first new single, 'Back To The Radio', sets out their stall, a lurching call to arms that contrasts Dana's lyrics of panic and closing herself off - "lock all the windows and march up the stairs" - with a rousing end-of-night chorus made for clutching your friends closely. The band's sound, co-produced by Tom Carmichael, Dana and drummer Sam Yardley, has also stepped up: it's panoramic and sparkling, elevated by ambitious instrumentals. "I kept saying that I wanted everything to be 'stadium epic', - like Coldplay," says Dana, with a knowing smile. If that sounds like a jarring proclamation then a glance over the list of references whose names came up during the creative process - first at PRAH Studios in Margate and then at Eastbourne's Echo Zoo - reveals influences as varied as Bruce Springsteen, Beach House, Carly Rae Jepsen and Brighton alt-poppers The Go! Team. WDBLTTS never sounds studied - the band has distilled their myriad influences into a sound that's unequivocally Porridgey - although some songs have clearer outlines. They describe 'Jealousy' as Deftones meets Portishead, with it's trip-hop crunch, ghostly piano and careening wall of static. The album's climactic single 'The Rip', possibly their most ambitious song yet, with it's gloriously widescreen distortion that does exactly as the title suggests, is their attempt to do a Charli XCX-sized pop take on alt-rock. These were opportunities for Dana to test her limits as a musician. "My guitar playing got stronger, I was writing parts I didn't know how to play and then having to learn them," she says. "I tried to push myself out of my comfort zone all the time. If you listen to our debut album [2015's Rice, Pasta and Other Fillers], the songs are good but there's a recklessness to them because I was so keen to finish them quickly and move on to the next. This time I was trying to exercise patience." WDBLTTS also explores something that Porridge Radio are perhaps less known for: playfulness. They created a junk-shop drumkit out of "metal ashtray buckets from the car yard outside the studio", which you can hear on 'I Hope She's OK 2' and 'Trying'. The playful wibble of the synthesiser punctuates songs with jangle-pop - and that playfulness extends to their visuals, too, like the pastel papier-mâché world, created by Dana's sister Ella, of the 'Back To The Radio' video. "I think the album needed to have that balance," Dana explains, adding that it reflects how she moves through the world: "If I'm broken down on the floor crying, of course I need compassion, but I also need people to laugh at me and with me, I need to be reminded how absurd everything is." Balance: that's the word that Waterslide, Diving Board, Ladder To The Sky seems to be eternally striving for - joy, fear and endlessness in harmony. But there's also self-acceptance. Dana is more aware of how she's creating a persona as her star continues to rise, and how she's singing personal songs that now belong to other people. She's had people tell her that her Every Bad got them through their cancer diagnosis, their break-up, their isolated lockdown. But now she feels it gives her purpose. "It makes me think, 'Okay, there's some use in this self indulgent thing I'm doing'," she says. "I wrote these songs for myself but I think everyone wants to feel like what they're doing is useful in some way. I'm learning to embrace both now, the parts that are for me, and the parts that are for everybody else."

• 1 Back to the Radio (Physical Version)
• 2 Trying Birthday Party
• 3 End of Last Year
• 4 Rotten
• 5 U Can Be Happy If U Want to
• 6 Flowers
• 7 Jealousy
• 8 I Hope She's Okay 2
• 9 Spintered
• 10 The Rip Waterslide, Diving Board, Ladder to the Sky

Indie Exclusive Yellow Vinyl. All Day Gentle Hold ! is the fifth album from Aaron Maine and a celebratory collection of songs. Harder, faster, shorter and louder than any other Porches record, it’s direct and pointed, charged up and chaotic, described by Maine as “the most energetic, off-the-cuff moments, collaged together into the most captivating songs [he] could make.”

Tracks

1. Lately
2. I Miss That
3. Okay
4. Swimming Big
5. Back3School
6. Swarovski
7. Watergetsinside
8. In A Fashion
9. Inasint
10. Grab The Phone
11. Comedown Song (Gunk)

Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realization that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time.

It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with esteemed avant-noise artist Lasse Marhaug. Together, they envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Kelly's creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release.

One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album'.

1. Release
2. Voice
3. Anadlu
4. S.O (2)
5. Olga
6. Nana
7. Quickening
8. One 
9. Sonic 8

At 22 years old, Eliann Tulve resembles Mazzy Star's Hope Sandoval, reincarnated as an Estonian cowgirl. She is enigmatic as ever but stands more firmly alongside co-songwriter Lauri Raus, the solidification of their roles perhaps accounting for the more hopeful turn their song writing has taken of late. Holy Motors' new album Horse finds the band acknowledging the Americana and rockabilly strands of their musical DNA without sacrificing any of the otherworldly mystique that keeps them from neatly conforming to the shoegaze and dreampop labels often applied to their music.

From the album's opening moments, songs like "Country Church," with its major key and classic rhythm and blues guitarline, and "Midnight Cowboy," which sounds like a lost Buddy Holly 45 played at 33 rpm, make it clear that Horse – even if it may not accomplish the impossible task of demystifying this band of ex-Soviet cowboys – will at least show you that there's more to them than the near-impenetrable darkness of their work to date may suggest. Although tracks like "Trouble" and "Endless Night" gravitate toward the ethereal production and existential subject matter of prior releases, repeat listens reveal complex compositions and an empathy that is central to this eight-song album.

As a whole, Horse stands as a warmer, more human counterpoint to 2018's celestial Slow Sundown, and showcases Holy Motors as a hypnotic force that draws listeners in and leaves them wanting more. This effect, paired with their ability to write lyrics and music that resonate with a deeply relatable feeling of isolation, has resulted in an album built to connect with people from devoted shoegaze and western psychedelia fanatics to dreamer cowboys, driving through wide open country roads under the stars.

1. Country Church
2. Endless Night
3. Midnight Cowboy
4. Road Stars
5. Matador
6. Come on, Slowly
7. Trouble
8. Life Valley

Drowning Pool's seventh album, Strike A Nerve, will be released via T-Boy Records and UMe. With over 1 billion streams and over 1 million in album sales, the alternative metal band delivers a headbanging, whiplash-causing collection of songs, two of which ("Strike A Nerve," "Hate Against Hate") have been served up to fans on recent live dates with a massive positive response. Available on 180-gram vinyl.

• - Disc 1 -
• 1 Doing Time in Hell
• 2 Hate Against Hate
• 3 Stay and Bleed
• 4 Strike a Nerve
• 5 Racing to a Red Light
• 6 Choke
• - Disc 2 -
• 1 Everything But You
• 2 Down in the Dirt
• 3 Rope
• 4 A Devil More Damned
• 5 Mind Right