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In a world where there are no more heroes, the Fleshtones walk the earth like Roman gods. Since their inception in 1976 in Queens, New York, and their sweaty, boozy gestation at legendary venues such as CBGB, Max’s Kansas City, and the storied Club 57— recently feted at the Museum of Modern Art, where their proto-video underground film “Soul City” was unspooled for art stars, glitterati, and a raft of punk rockers who managed to get past the front gate — they have perpetrated their proprietary brand of SUPER ROCK, a frenetic amalgam of garage punk and soul, punctuated by the big beat and unleashed with the spectacular show business majesty which has kept them on the road for over forty years, adored by audiences whose love for them borders on religious fervor. It’s Getting Late (…and More Songs About Werewolves) is a smash that could have dropped at any point in their epic career — it is an outburst, and a celebration of the SUPER ROCK sound. Unlike their contemporaries, they have not dialed down the tempos to compensate for osteoporosis, they have not lost anything on their fastball, and continue to throw it for strikes. The hardest working band in garage rock has never sounded better, and now you see why they've been your favorite band's favorite band for decades.

Dziga Vertov, whose renegade approach to cinema is best remembered in the legendary Man with the Movie Camera and his series of Kino-Pravda newsreels, demonstrates his mastery of montage in this 1924 feature previously unseen in the United States.

Less than a year after the project's debut, Moby & the Void Pacific Choir return with a follow-up, More Fast Songs About the Apocalypse. The aptly titled sequel to 2016's These Systems Are Failing is another abrasive collection of hardcore and post-punk ravers that should please fans of Moby's one-off solo punk experiment, 1996's Animal Rights. The spirits of major Moby influences like Agnostic Front and Mission of Burma can be heard throughout Apocalypse, from the manic pounding of "Trust" and the unrelenting anxiety of "If Only a Correction of All We've Been" to the rhythmic drone of "A Softer War" and the digital mayhem of "All the Hurts We Made."

Album distributed for free through a satirical press release by "John Miller," a publicist whom Donald Trump would masquerade as when blustering to reporters over the phone.

"Insecurity-obliterating anthems by pop’s most human superstar: Beyond the sleaze, grinding bass and it-girl in-jokes, the British visionary’s sixth album is a masterpiece that understands how a hard persona can offer protection."

"Insecurity-obliterating anthems by pop’s most human superstar: Beyond the sleaze, grinding bass and it-girl in-jokes, the British visionary’s sixth album is a masterpiece that understands how a hard persona can offer protection."

A best-of for classic Irish rock outfit the Undertones, West Bank Songs 1978-1983 compiles 30 of the group's most iconic tracks. Alongside seven of the band's Top 40 hits (including the iconic "Teenage Kicks"), the album pulls from the group's original four studio LPs and includes a 12-page insert with liner notes from Michael Bradley and Mick Houghton.