Easy Street Records

Music Releases 05-17-24

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Often recognized as one of the most consistent and prolific duos in independent hip-hop, Atmosphere hit a stride of extraordinary output from July 2007 to April 2008, even by their own standards. Within those 9 months, they released a full-length album, four EP's, and a 42-minute mixtape of
exclusive material, altogether totaling 48 new songs released, all while they were consistently touring as well. This rapid-fire string of releases introduced some of their most popular songs to date and showcased their dynamic range, from moody and reflective, to upbeat and optimistic, to a boom-bap throwback style of rap, the latter of which was most prominently displayed on the mixtape. Introduced on Christmas Day 2007, the mixtape was a "gift" to fans in the form of a free download, aptly titled Strictly Leakage – a nod to both eschewing standardized industry practices in favor of giving the music away, and to another prominent album title from the era that inspired them and perhaps more specifically, these recordings. Strictly Leakage surprised fans and critics alike, not just because the download invite appeared in their inbox without warning, but also because the project sounded so uniquely different from Atmosphere's typical recordings. Ant was digging deep into the funk & soul crates, favoring samples over live instrumentation, and producing tracks that sounded as if they were birthed alongside late '80s and early '90s hip-hop classics. Slug was rapping with a renewed passion, yet somehow sounding more casual and carefree delivering endless wordplay with more technical rhyme patterns than other Atmosphere projects. Together, they created 13 exclusive songs that sounded as if they were just having fun making them, without the pressure of any album expectations – undoubtedly as rewarding an exercise for themselves as it was for the listeners. Early on, Strictly Leakage had been pressed on a limited run of vinyl and CD, but it wasn't long before they sold out, and fans were left chasing streams and digital files in order to hear the project. Finally, the project returns to vinyl LP and CD, made available for retail distribution, so fans everywhere can own and appreciate this unique chapter in Atmosphere's story.

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The final Original Cast Recording from legendary composer Stephen Sondheim, Here We Are is inspired by Luis Buńuel's surrealist films The Exterminating Angel (1962) and The Discreet Charm of the Bourgeoisie (1972). With a book by Tony Award nominee David Ives and direction by two-time Tony Award winner Joe Mantello, plus an all-star Broadway cast, Here We Are follows six aristocratic friends on their search for brunch.

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Saxophone icon Kirk Whalum blasts off with his highly-anticipated new album Epic Cool, an electrifying collection of original grooves. Teaming up with producer Greg Manning (Keb’ Mo’, Herb Alpert, 2x GRAMMY® nominee, composer/collaborator on 10 #1 Billboard hits), Whalum focuses on his songwriting to craft an album that’s passionate and spirited on a monumental scale, but with his trademark soul. From danceable hits like “Bah-De-Yah!” to melodic, sultry jams (Whalum calls “Pillow Talk” the strongest song he’s written in 20 years), Epic Cool weaves a musical story that has wide, cross-genre appeal. Get ready to groove, because Epic Cool is anything but ordinary.
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Solstice Of Oppression

American Death Metal classic demos remastered! First time on limited vinyl. Chicago’s iconic technical Death Metal band Oppressor was formed in 1991 by bassist/vocalist Tim King and guitarist Adam Zadel, soon adding guitarist Jim Stopper and drummer Tom Schofield. Oppressor is reformed and has started playing live again! Oppressor recorded two demo’s... and their second demo, 1993’s “As Blood Flows”, got them signed in 1993. This demo was seen a very strong release, clocking in over 30 minutes and with a decent production. Released the following year was the band’s debut album, “Solstice of Oppression” which was supported by heavy touring, but Oppressor’s label went went bankrupt soon after.
To keep their name in the public ear, Oppressor released a half-live/half-studio compilation called “European Oppression Live/As Blood Flows”, live material collected from their European support tour for their debut and studio material consisting of the band’s 1993 “As Blood Flows” demo in its entirety.
They eventually hooked up with Olympic Recordings, which released their second studio album, “Agony”, in 1996. Featuring more structured compositions, and an improved production, the album became the group’s breakthrough, and ultimately allowed them to expand their audience after securing the opening slot on one of Cannibal Corpse’s American tours.
On this vinyl only release, limited to 300 copies we have added the “World Abomination” demo from 1991 to the before mentioned “As Blood Flows” demo from 1993. This results in 55 minutes of pure early 90’s US Death Metal that fits in with the likes of Suffocation, Broken Hope, Gorguts, Cryptopsy and Immolation. Raw, primitive, brutal, in your face youthful US Death Metal, as it was and will never be again!
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There are numbers so vast they exceed the scope of human reckoning, concepts so immeasurable they surpass our capacity to understand. On their radiant new album, 100’s of 1000’s, Millions of Billions, Blitzen Trapper make peace with the unknowable, surrendering themselves to forces beyond their control as they explore the infinite with a broad mind and an open heart.

Inspired by singer/songwriter Eric Earley’s fascination with Buddhist texts and meditation (the title comes from a phrase that appears over and over in the Mahayana sutras), the album offers a captivating take on rebirth and transcendence, and the circularity of existence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and unfolding like a riddle-filled journey that asks many questions and offers no answers. The production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and the result is a gorgeous, sprawling collection wrapped in lush layers of synthesizers and washed out electric guitars–a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once.

“This whole project grew out of a box of old four-track tapes from the ’90s that I found recently,” Earley explains of 100’s of 1000’s, Millions of Billions. “The tapes were full of songs I’d written and recorded back when I was 19 or 20 years old, and the sound and the spirit of those recordings got me excited to start writing music again, to go back to working the way I did when I was first starting out.”

Launched roughly two decades ago in Portland, OR, Blitzen Trapper garnered early attention with a series of self-released albums before breaking out internationally with a pair of critically acclaimed LPs (2007’s Wild Mountain Nation and 2008’s Furr) that would cement their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger,” and The New York Times compared their songs to Tom Petty, Bruce Springsteen, and Neil Young. Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. In the years to come, the band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sound[s] like the Beatles at Big Pink.”

“Holy Smokes introduced me to The Tibetan Book of the Dead, which kind of served as a gateway into the world of Buddhism for me,” Earley recalls. “I started digging deeper and reading the sutras after that, which is what really drew me into the practice.” He found himself particularly fascinated with Buddhism’s teachings on the self and the freedom that comes with learning to let go of the artificial constructions that surround it. “Buddhism tells us that suffering comes from clinging to illusions, to rigid ideologies, to the idea of an individuated self,” he explains. “The doorway to ridding yourself of all that is meditation, and I found that a lot of these new songs started flowing very naturally from the state of consciousness I was getting myself into during those meditation sessions.”

At the same time Earley was learning to be present through meditation, he was also reconnecting with his past through those old four-track cassette tapes; in a mirroring microcosm of circularity, he found that the songs fit in with the newer ones he’d written, and he reworked, updated, and finished them with a clarity of perspective that comes with experience gained over time. The performances were loose and freewheeling, fully arranged and fleshed out but never overworked, and the carefree sense of spontaneity called to him. “What struck me the most was just how casual and off the cuff it all was,” Earley reflects. “I was working without any thoughts of the music industry, without any expectation of releasing or touring, so I was just capturing anything that popped into my head and moving on. There was a raw, time capsule quality to it, and it reminded me of why I fell in love with making music in the first place.”

Invigorated by the energy of those tapes, Earley borrowed a friend’s four-track machine and headed out to guitarist Nathan Vanderpool’s studio in rural Washington, where he began roughly two months of on-and-off sessions with Vanderpool and drummer Brian Adrian Koch. It was a slower process than normal for him—in part because he was splitting his time between recording and working with Portland’s homeless population, which had increased significantly since the pandemic. But the pace proved to be a perfect fit for the tracks, which incorporated sonic elements from the original tapes into the newly written songs drawn from Earley’s journey into Buddhism, as well as his experiences working in the shelter system. “The work I do outside of music inevitably finds its way into all of my songs,” he explains. “I think the shelter in particular has broadened my perspective about humanity, about the variety of desires we can have and the suffering we endure.”

That sense of empathy is clear from the outset on 100’s of 1000’s, Millions of Billions, which opens with the effervescent “Ain’t Got Time to Fight.” Warm and lilting, the track searches for meaning and joy in a world that can seem determined to beat it out of us at every turn. Like much of the record, the song carries weighty considerations beneath its playful exterior, grappling with the emptiness that threatens to consume us should we ever lose sight of the only true currency that matters in this world: love. The bittersweet “Cheap Fantastical Takedown” follows two vampires at a crossroads in their relationship, uncertain if eternal life is a blessing or a curse; the dreamy “Planetarium” (featuring Anna Tivel and Eric D. Johnson of Fruit Bats/Bonny Light Horseman) finds comfort and peace in learning to see the self as the cosmos and the cosmos as the self; and the urgent “Cosmic Backseat Education” revels in the simple pleasures of art for art’s sake. “I remember lying in the backseat of my parents’ car as a kid and just listening to the radio, which I think is where I got most of the education that I’ve used in my life and my career,” says Earley, who selected an abstract collage by Guided by Voices’ Robert Pollard for the album’s cover art. “We’re so brainwashed to have these goals and milestones that we all chase, but music is inherently purposeless outside of joy. If you can learn to see that same purposelessness in life, it frees you up to enjoy every moment.”

Earley plays with that notion throughout the record, balancing the joy of purposelessness with the fear of nothingness in equal measure. The perpetually off-kilter “Dead God of the Green Arising” tracks a deity reborn on Earth as she learns to share her gifts with the natural world; the breezy “So Divine” follows a human reborn into a heavenly realm that becomes its own kind of hell with no further awakening to be found. It’s not all spiritual beings on the album—the hypnotic “Hesher in the Rain,” for instance, centers on a heavy metal drummer longing for a love he left behind, while the soulful “Upon the Chain” draws on the real-life story of Earley’s uncle, who escaped from a chain gang and drove home in a stolen station wagon—but in many ways, the distinction between man and god is a meaningless one. We’re all inextricably connected, and no matter what state we may find ourselves in at any particular moment, we’ve been here before, and we’ll be here again.

“With each successive death and rebirth, we learn more of love, more of life,” Earley explains. “The beings we live with and love have been with us for hundreds of thousands of years, for millions of billions of lifetimes.”

It’s more than we can fathom, and it’s all we’ve ever known.

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2024 release from the contemporary Christian singer/songwriter.
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In 1994, Collective Soul burst onto the music scene with their debut album Hints Allegations And Things Left Unsaid. Now, 30 years later, the band is still going strong and continues to create infectious Alt-Rock music that is loved around the world! The new album Here To Eternity contains 20 tracks of the catchy melodies, driving guitars, and soaring choruses that have defined the band's sound since their early days. Featuring the new single "Mother's Love", this collection is a love letter to the fans. 2024 is a big year for Collective Soul: they are embarking on a huge, national tour with Hootie & The Blowfish and Edwin McCain and preparing to debut a documentary about the band's 30-year history with major film festivals. The last 3 decades have brought Collective Soul here, and they intend to push on for decades to come!
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This 14-track album will feature Galantis' most personal work to-date. A direct successor to 2015's breakout debut, Pharmacy, the new record will explore Christian Karlsson's neurodivergence and how medication has been a pivotal influence in the way he operates today. TRACKLISTING: 1. Dust 2. One, Two & 3 3. Bang Bang! (My Neurodivergent Anthem) 4. Dreamteam With Neon Trees 5. Koala 6. Fool 4 U With JVKE (Feat. Enisa) 7. Get You Alone 8. Side Effects (Feat. Rain Davis) 9. One Cry (Feat. Rosa Linn) 10. Damn (You've Got Me Saying) With David Guetta & MNEK 11. Little Bit Yours With Hannah Boelyn 12. Lighter With David Guetta & 5 Seconds Of Summer 13. 6 Feet Down 14. Heartbreak Anthem With David Guetta & Little Mix.
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"The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists-vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown-carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. "We refined the song structures," Mason says. "We're getting better at what we do." Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described "stadium death metal." It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. "In the mid-90s, all those bands were evolving into doing their own thing," Mason says. "I feel like we've incorporated that timeline into Gatecreeper." Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on "Masterpiece of Chaos," which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as "A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass." Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. "Many of the songs incorporate supernatural ideas with my own experiences," Mason says. "But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune." Gatecreeper widen their sonic palette on "Flesh Habit" and lead single "The Black Curtain," which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. "The Black Curtain" embodies the album's theme with a tale of divination. "It's about being trapped between living and dying," Mason says. "A soul trapped in purgatory begging to be brought back by a supernatural force." Meanwhile, advance single "Caught in the Treads" deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track "Dead Star," the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. "There's a lot of bands in our lane," Mason says. "But we're trying to create our own." Purple LP
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"One of the coolest quotes that I've come across on High Noon Kahuna's debut album Killing Spree came from Philly deathsludge entity / underground commentator Rot Coven, who described the music on Spree as an 'utterly baffling blend of '70s proto-metal, Black Flag / Bl'ast-ish hardcore punk, kaleidoscopic psychedelia, and what sounds like some kind of heavily amplified surf music (which kept making me think of the weird surfy parts of Agent Orange for whatever that's worth to anyone)... like some acid-damaged mid-'80s Arizona band that would have played shows with JFA, Mighty Sphincter, and the Sun City Girls.' Man, I could not have put it better myself. That comment was probably the most astute assessment of the band's 2023 disc I've read. The band and that album were (and are) most definitely weird, totally ignoring any semblance of genre guardrails for an explosive riot of melody and heaviness, chaos and musical proficiency, and most importantly, hammering riffage and serious earworm material. High Noon Kahuna traverse those hinterlands between noise rock, hardcore punk, sludgy metallic crunch, surf guitar flourishes and Morricone-esque atmosphere, and wild-eyed, spaced-out psychedelic adventure, where it all bleeds and blurs together into something that is just as unique as their name demands. It's the result of a shared background in the DMV underground that goes back decades; between guitarist Tim Otis (Admiral Browning), drummer Brian Goad (Internal Void / The Larrys / Nagato), and bassist / singer Paul Cogle (Black Blizzard / Vox Populi / Nagato / Slagstorm), each member of the trio has left enduring fingerprints on much of what has been going on in the outer fringes of the DC suburbs for nearly forty years."That uniqueness takes on a darker cast with their sophomore album This Place Is Haunted, their second release with Crucial Blast. Recorded with Kevin Bernsten at Developing Nations, Haunted's mix of burly, noisy rock and mysterious texture work in tandem to evoke the ectoplasmic shadows of the title. Visions of spirit boards and swirling motes of dust above a long-past séance. Ecteneic forces and shaking tables. A door opens. And something looms over High Noon Kahuna's peculiar, punchy songwriting and wigged-out soundscapery. The twelve songs on Haunted wind through a phantasmal labyrinth of odd noise, roaring anthemic hooks, stretched-out stratospheric psych, eerie layered melody, and moments of dark, doom-laden heaviness. Peers into darker corners." -Crucial Blast
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Kate Hudson - Glorious - Pop Vinyl LP

Kate Hudson's not sure what took her so long, especially with all the music whirling inside her. That hunger for musical expression from the woman who embodied the rocker's muse in Almost Famous runs deeper. "I always felt connected to music. It was my outlet." Natural and easy, there's both self-examination and celebration flowing through her songs. She understands the phases of modern music in a way that's fluid, but defined, honest, yet willing to leave it all at the door in the name of love. Standard black vinyl.

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Black vinyl, 180g LP. Mat Kearney's self-titled LP is the most honest and raw he's ever been. Described as "the soundtrack for a drive into mountains or a beach hang with friends," Kearney's growth as an artist is evident as this album sees him take on more of the production; writing and producing some songs solely on his own. His growth isn't limited to his solo production, it also lead him to collaborate in ways he hadn't done before. Having The Brook & The Bluff play on a handful of these songs, Mat said "it was the first time I felt like I was in a band." The overall vision for the album kept it simple. Real instruments and honest performances, similar to the early days of Kearney's career.
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Vinyl LP pressing. 2024 release. Sam's Place is Little Feat's tribute to the blues with percussionist Sam Clayton taking center stage as lead vocalist. It's also their first studio album with Scott Sharrard on guitar and Tony Leone on drums along with longtime members Bill Payne on keys, Kenny Gradney on bass, and Fred Tackett on guitar. The album was recorded in Memphis, TN at Sam's Phillips Studio and produced by Little Feat and Charles A. Martinez.
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Don Mclean

American Boys

Vinyl: $35.98 UNAVAILABLE
Vinyl LP pressing. 2024 release. Fifty years after Don McLean's seminal release, American Pie, Don headed into the studio to record new original tracks for American Boys. Don had not thought he would do another original album, but the pandemic hit us all, and he had time to consider and write. American Boys was conceived with the help of Vip Vipperman, Mike Severs, and many musical friends. Much like McLean's American Pie and it's nostalgic shift of music from the '50s through the '60s, along with subsequent releases confronting other socio-political flaws within America, American Boys also examines the severedness within the country, it's injustices, inequality, and more. True to his artistic nature, Don delivers a thoughtful record.
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Wanderer is the long-awaited new solo album from Canadian singer-songwriter Ruth Moody, founding and current member of Billboard charting and JUNO award winning folk trio, The Wailin' Jennys. Recorded at Sound Emporium in Nashville, the self-penned album was co-produced by Moody and Dan Knobler (Allison Russell, Lake Street Dive) and mixed by Tucker Martine (My Morning Jacket, First Aid Kit). Her first release since the acclaimed 2013 album These Wilder Things and her celebrated collaborations with Mark Knopfler, Wanderer is a transcendent collection of ten deeply powerful and personal songs that reflect Moody's inner world and wanderings. At once lush and intimate, the album weaves together otherworldly vocals, open-tuned guitars, intricate harmonies, soaring pedal steel, and Moody's signature inspired lyrics, taking the listener on a journey through time and space. From the restless energy of "Seventeen", a true life story of unrequited love and an homage to Moody's hometown of Winnipeg, to the poignant duet with fellow Canadian roots music standout Joey Landreth on "The Spell of the Lilac Bloom", Wanderer explores the emotional journey of motherhood, the joy and pain of life, the mysterious and complicated dance of love, and ultimately the longing we all feel for home, wherever that might be.
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Clear Sky Blue Vinyl w/ download card in a gatefold jacket. Over the course of the last two decades, Of Montreal's creative force, Kevin Barnes, has been wowing fans with their vast catalog of endlessly fascinating pop and mesmerizing live shows. Barnes' songwriting and production aesthetic has since become iconic in the industry and has garnered massive critical acclaim in publications such as Rolling Stone, The New York Times, NPR, and Pitchfork, who described the band's album, Hissing Fauna, Are You The Destroyer? as "ceaselessly fascinating and inexhaustibly replayable," as well as ranking it as the #5 album of the year. Barnes' influence on pop music is undeniable, with multiple late night TV appearances, including The Late Show With David Letterman and Late Night with Jimmy Fallon, as well as brilliant collaborations with the likes of Solange, Janelle Monáe, Jon Brion, and others. The band has also performed across the globe, with festival appearances at Coachella, Sasquatch!, Pitchfork Music Festival and others, as well as hundreds of millions of streams worldwide. On Of Montreal's latest album, Lady on the Cusp, Barnes shapeshifts between genres with each song. On tracks like "Rude Girl on Rotation," Barnes revisits sounds of late 60's guitar pop & psychedelia reminiscent of 2013's Lousy With Sylvianbriar, while "Young Hearts Bleed Free" and "Music Hurts The Head" showcase Barnes' love of experimental funk pop that has been present throughout much of the band's discography. Lady on the Cusp is another exciting listen from one of the most prolific and influential artists making music today.
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One Step Closer

All You Embrace

Vinyl: $24.98 UNAVAILABLE
One Step Closer has always believed that hardcore is limitless. On All You Embrace, the band puts that theory into practice. Every release from the Wilkes-Barre, Pennsylvania band has seen them exploring the sonic overlaps of hardcore, emo, and '90s alternative rock without an iota of self-consciousness, or pretension, creeping into the mix. All You Embrace is a collection of 11 songs that show One Step Closer reaching for something deeply honest and, as always, authentic."I wanted to showcase One Step Closer in it's fullest state," says vocalist Ryan Savitski. "Every single part of the band, I wanted it to be there. I wanted us to be 100% ourselves and be as authentic to our band as we could possibly be." For fans of their first EP From Me To You, there are songs like "Blur My Memory," which show the passionate melodic hardcore the band built it's name on is still part of the program. But it's immediately followed by "The Gate," a song that taps into the expansive reaches the band hinted at on This Place You Know and put on full display with the powerful follow-up EP, Songs For The Willow. Every element of One Step Closer is on display throughout the record, as they expound upon every idea until each one has achieved it's full potential. The result is a record that's bigger, catchier, and moodier than anything they've done before, while still feeling exactly like OSC.Taken in full, All You Embrace is the sound of One Step Closer honoring their past while building a future that looks more open, more creative, and more expansive. It's a place where records like Start Today, Diary, and Floral Green are all in conversation with one another. Even the album's cover art marks a new direction for the band - the dizzying, frigid blur of blues & blacks colliding is a painting of guitarist Ross Thompson spinning in place, evoking how it feels to listen to these eleven tracks about change, grief, anger and the growing up. One Step Closer feels like the next in a lineof revered bands coming from the crescent-shaped depression of Wilkes-Barre - and All You Embrace is the perfect introduction to the most exciting version of the band to date.

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