Rohan at The Louvre

Forming in 1969, Asleep at the Wheel was one of the first bands (along with Commander Cody & His Lost Planet Airmen) of the long-haired hippie generation to look back to American roots music traditions like Western swing and boogie-woogie, but the world wasn't quite ready when they released their 1973 debut on United Artists. The following year, they switched over to Epic for their self-titled sophomore release, and began to really make a name for themselves…

At the Drive-In have plans for a worldwide reissue of their 1996 debut Acrobatic Tenement and 2000’s Relationship of Command, the band’s final album before breaking-up in 2001. Of course, Australia already received its reissues last year, with the new edition of Relationship of Command featuring songs from their 2001 triple j Live at the Wireless. For the rest of the world, both albums will be rereleased on CD, digital and vinyl with a limited run of colour vinyl for Relationship of Command to be issued for Record Store Day on 20th April, 2013.

What more can you ask for? Asleep at the Wheel playing on Austin City Limits running through a smoking program of rocking, strolling Western swing tunes – with special guests like Eldon Shamblin, Johnny Gimble, Leon Rausch, and Herb Remington no less. Asleep at the Wheel have performed on Austin City Limits numerous times – including the very first broadcast program back in 1976 – but this show, recorded gorgeously from 1992, is special. The bandmembers are so relaxed, open, and in the groove here that this stands out among their live recordings. It's true that the program is familiar, full of favorites and legendary swing tunes, though "Boot Scoot Boogie" by Brooks & Dunn's Ronnie Dunn is also here. Some of the standouts include "Roly Poly," "Corrine, Corrina," "Blues for Dixie," and the closing read of the Cindy Walker/Bob Wills tune "Sugar Moon."

The Swedish heavy metal legends' seventh full-length effort, Nightmare of Being sees At the Gates continuing to tweak their Gothenburg-style death metal with wild abandon. A blistering chimera of discord and melody, the ten-song set builds on the promise of its predecessor, 2018's To Drink from the Night Itself, delivering deft arrangements, surprising sonic detours, and lyrics steeped in existential dread. Softly fingerpicked classical guitar sets the table on the crushing opener "Spectre of Extinction," which pairs the band's signature guitarmonies and galloping blast beats with Tomas Lindberg's choked but powerful death-metal howl…

Full Dynamic Range Remastered edition of At The Gates fourth studio album.
When it was first released, At the Gates' Earache debut Slaughter of the Soul was regarded as a generally excellent example of Gothenburg-style melodic death metal, and certainly the band's best and most focused album to date. But the commonly held view was that it wasn't anything all that special, either. After all, it lacked the intricate twin-guitar leads of In Flames, the complex song structures of Dark Tranquillity, the progressive artistry of Edge of Sanity, or even the rock & roll underpinnings of latter-day Entombed. Slaughter of the Soul was more obviously rooted in American thrash (especially Slayer) than its peers, and didn't seem to be consciously trying to break new ground…