RUSH! (ARE U COMING) is the expanded edition of the album, RUSH!, by Måneskin that was originally released in January of 2023. This vinyl edition contains 7 additional songs not included on the 1-LP including “Supermodel,” “Mammamia” along with 5 brand new tracks never before released that make up the entire first side of the double LP.     

Hailed as "the reigning heavyweight champions of Southern rock" (No Depression), Atlanta-based quintet Blackberry Smoke is back with their 8th studio album, Be Right Here, produced by Dave Cobb. Be Right Here follows 2021's You Hear Georgia, which was the best-selling Country and Americana/Folk album in the country, entered at #7 on the Billboard Rock Albums chart and #4 on the Billboard Top Albums chart. Released to critical acclaim, No Depression praised the band for being “as much students of singer-songwriter-folk and outlaw country as they are of jam-based, chest-pumping rock,” ” while Guitar World declared "Many try to reproduce that holy grail, golden-era-of-classic-rock sound through their six-string escapades, yet only a handful ultimately succeed. One such band who succeeds in spades is Blackberry Smoke, whose most recent album You Hear Georgia serves up 10 tracks of pure rock ‘n’ roll bliss.”

In addition to Blackberry Smoke—Starr (vocals, guitar), Richard Turner (bass, vocals), Brit Turner (drums), Paul Jackson (guitar, vocals) and Brandon Still (keyboards)—the album also features background vocals from longtime collaborators The Black Bettys.

Strawberry Shortcake Splash LP (Indie Exclusive). The Menzingers are an absolute institution. The Philadelphia punk legends' multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth-and their seventh album, Some Of It Was True, stands as their most immediate-sounding and energetic record to date. The follow-up to 2019's sensational Hello Exile accomplishes the daunting task of capturing the Menzingers' distinctive live energy in the confines of the studio, resulting in a sound that's both rich, raw, and complementary to the group's increasingly prismatic songwriting approach. More than 15 years in, the Menzingers are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion.

"We wanted to make a fun record and write songs that we wanted to play live, and that's exactly what we did," co-vocalist/guitarist Greg Barnett says "We've always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage." Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined the Menzingers in El Paso's legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True's in-the-room live feel. "The Menzingers are as real as it gets," Cook says on his time in the studio with the band. "I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer."

Polaroid Lovers is the 7th studio album from four-time GRAMMY winner Sarah Jarosz. Produced by Daniel Tashian, Polaroid Lovers is a bold creative statement that sees Jarosz exploring new sonic territory. The 11 songs on the album, all co-written by Jarosz with songwriters including Tashian, Jon Randall, Ruston Kelly, and Natalie Hemby, touch on themes both personal and universal: love, longing, and finding one’s place in the world.

Liverpool’s acclaimed sensual existentialist Brad Stank today announces the release of his resolutely romantic new album In The Midst of You on January 26th via his new label Sunday Best Recordings. He launches the album alongside the quintessentially Brad ‘Natty Wine’ and its accompanying video. The new single ‘Natty Wine’ neatly encapsulates the many charms that emerge throughout the album. With Brad backed by soulful female vocal harmonies, the song’s jazzy psychedelia possesses a touch of twanging Americana, its warm and vibrant live instrumentation making for a song as relaxed as a Sunday afternoon in the sun. It’s also notable for featuring Brad’s favourite percussive instrument deep in the mix: a wooden frog. He adds, “This is a tongue-in-cheek song I wrote after being gifted a bottle of natural wine by a friend. I’m a working-class boy who would much rather drink shitty lager at a party, like Stella or Holsten Pils. I’ve got no right to be writing a song about natty wine but I was feeling bougie. It’s a love song in disguise, I liked the imagery of lyrics like, ‘Your sweet loving just keeps dripping from the vine.’” In The Midst of You finds Brad in late night lothario mode, his previous seductive style now taking a more resolutely romantic and perhaps surprisingly spiritual direction. The phrase “in the midst of you” comes from the Bible, Zephaniah 3:17, “the full quote is something along the lines of “God is in the midst of you” - basically meaning that you have to look inward for peace or enlightenment, etc. the album is about that in parts and also, as always, I tried to put a romantic twist on it so that the “in the midst of you” is about being in love with somebody. It’s kind of a juxtaposition but I’ve always enjoyed taking spiritual messages and giving them a double meaning, explains Brad. “Hopefully it’s a positive message of prostrating yourself to somebody, or to spirituality or something - but giving yourself fully to something, being in the midst…”

Torchbearers for British guitar music, The Vaccines - Justin Young (lead vocals, guitars), Árni Árnason (bass, vocals), Timothy Lanham (guitars, keys, vocals) and Yoann Intonti (drums) - are back with their sixth studio album Pick-Up Full of Pink Carnations. The title comes from a misremembered lyric from Don McClean's "American Pie," a song that for Young fittingly evokes the death of innocence and the American Dream. After he moved to Los Angeles - a city the band has grown up being captivated by - he was forced to wrestle with the disillusionment that comes when expectations, dreams, and reality don't quite meet. Yet, though Pick-Up Full of Pink Carnations is an album about reconciling with loss, it's also filled with gratitude for the people and places we once loved.

"Pink carnations symbolise gratitude and tell a person they’ll never be forgotten," says Young. "So whether it's the loss of a lover, or a friend, or even just a dream, the record is a reminder that they’ll live on in whatever capacity the mind allows them to. And it's a reminder to keep on dreaming.”

Produced by Andrew Wells (Halsey, Phoebe Bridgers) with Mixing from Dave Fridmann (Tame Impala, The Flaming Lips), Pick-Up Full of Pink Carnations is an immediately anthemic addition to the band's discography. With a mammoth five UK Top 5 albums – including a Number 1 with 2012’s Come of Age – and a fierce live reputation forged through arena-filling headline shows and unforgettable slots at Glastonbury and Reading/Leeds, The Vaccines continue to be a vital band in the British rock canon.

The surprise companion to The National’s April release First Two Pages of Frankenstein, Laugh Track is the band’s most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Reveling in the license to radically upend its creative process, The National honed most of this material in live performances on tour, and captured those invigorated versions in impromptu sessions at producer Tucker Martine’s Portland studio. Two nights later in Vancouver, the nearly eight-minute album closer “Smoke Detector” was recorded during soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics. The result is the nihilism and icy darkness found in black metal melding perfectly with the pensive, ethereal nature of shoegaze and the expansive dramatics of post-rock to create a new landscape. By juxtaposing propulsive and harsh blast beats and riffs against soaring melody, Deafheaven had refocused the blind-hate nature found at the kernel of black metal into a melancholic and singular journey to explore the unknown. Considering metal’s staunchly negative relationship with the press, Deafheaven’s Sunbather was nothing less than a true triumph. An immediate success at the time of it’s release, Sunbather blasted through the glass ceiling that limited so many other heavy music bands before them. Lauded by virtually every major critical outlet, Sunbather is the picture perfect ideal of a music darling– leading to sold out shows around the globe in increasing numbers. Sunbather would eventually become a year end favorite, repeatedly named one of the best albums of 2013 and landing on top 10 lists that were previously alien to heavy music– outlets like Pitchfork, Rolling Stone, the New York Times and the like. And while the critics were dogpiling on the compliments, the conservative nature of heavy metal could not help but spin things in the opposite direction. As the saying goes, ‘the first one through the door catches all the bullets.’ “The easy answer was it was totally positive and overwhelming,” says founding guitarist Kerry McCoy with a bit of a chuckle when asked about his feelings about the response to Sunbather. “But in actuality it was also kind of frustrating. We were grateful for the positive notes, but there were people who thought we were the worst thing to ever happen to metal and others who thought that we claimed to invent the genre. Neither were true.” In addition to the game-changing musical approach, the band’s aesthetics were nothing if not utterly controversial as well. Designer Nick Steinhardt’s striking cover with use of a highly stylized font and a pale pink as the chosen color is not only a masterstroke in contemporary design, it was a true middle finger to the black metal establishment– one that prided itself on a lo-fi black and white aesthetic. The bright and easily recognizable cover openly positioned the album as a true outsider unafraid to duck genre boundaries. Formed in 2010 in San Francisco, California with the core duo of George Clarke and McCoy, the pair completed their debut demo with Jack Shirley, who would eventually helm Sunbather, releasing it on limited cassette. The cassette became an underground phenomenon, leading to a record deal with Deathwish Inc who released the cassette in limited numbers on seven-inch. After recruiting a live band, the five piece recorded their debut LP Roads to Judah and embarked on a series of shorter tours to promote the release. When the time came for the follow-up, the band slimmed back down to the original duo and added drummer Daniel Tracey– creating what many believe to be one of the most important musical statements of the ‘10s. The release would be their third with Jack Shirley. “Honestly, Sunbather gave us a career,” says McCoy with candor. “Before then we were working jobs and had these grandiose dreams, but that was the record that turned us into a real band. Because of that record, we ended up meeting a lot of people around the world that changed our lives and set us on the path we’re on now.” Ten years later, Deafheaven is nothing less than a mammoth and live touring juggernaut, with fans across the far reaches of the earth and a flawless live lineup of Shiv Mehra on guitar (joined in 2013) and Chris Johnson on bass (2017) in addition to Clarke, McCoy and Tracey. One of the most important and original rock bands of the past fifteen years, the long-awaited reissue of this pivotal release celebrates its tenth anniversary with a fresh shine and coat of paint– a newly remixed and remastered sound by original producer Jack Shirley with available spacial audio, an updated look to the packaging in all formats courtesy of the album’s original designer Nick Steinhardt, and deluxe color vinyl that includes a gatefold jacket with spot UV printing and 2 full-color printed inner sleeves. Whether a newbie to this colossal record or a familiar party, the anniversary edition is a crucial addition to the collection of any erudite music fan.

Global icon and recent Rock & Roll Hall of Fame inductee, Dolly Parton, has joined forces with some of rock music’s most legendary artists along with today’s biggest stars for her first-ever rock album, Rockstar. The ever-evolving Parton teamed up with an all-star roster of musicians for the 30-song collection which includes 9 original tracks and 21 covers of iconic rock anthems.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York’s Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman’s own past, present and future.

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just to be accepted, but that comes from a place of fear and judgment. I wrote these songs as a way of letting go of all that, as permission to feel good.”

Feel Good, Wyatt’s extraordinary new album, is more than just a permission slip, though: it’s an invitation. Recorded with Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and intuitive here, tapping into the deep recesses of her subconscious as she reckons with grief and growth, and her delivery is visceral to match, cutting straight to the bone with equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical act of creative liberation from an artist already known for pushing limits, a genre-defying work of healing and self-love that tips its cap to everything from Al Green and Otis Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and pleasure.

Duran Duran return with their new album Danse Macabre. The 13 song collection features: three brand new songs; haunting covers of songs by artists such as Billie Eilish, Talking Heads, The Rolling Stones and The Specials; and new versions of Duran Duran classics from their own catalog. It also includes a rare b-side and fan favorite: “Secret Oktober 31^st”.  Guest artists include producer, guitarist and composer Nile Rodgers, Victoria De Angelis of Måneskin and former band members Andy Taylor and Warren Cuccurullo.  Exquisitely packaged with a fold-out poster, the record features images adapted from a collection of authentic vintage séance photos that band member Nick Rhodes sourced at auction. 

As they set to work on their highly awaited sophomore album, Black Pumas broadened their palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, starry-eyed love songs that feel dropped from the cosmos. The debut was nominated for 7 Grammys and reached one million album equivalents. Chronicles Of A Diamond arrives as the fullest expression yet of their frenetic creativity and limitless vision.

Jenny from Thebes began its life as many albums by the Mountain Goats do, with John Darnielle playing the piano until a lyric emerged. That lyric, “Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief,” became “Jenny III,” a song which laid down a challenge he’d never taken up before: writing a sequel to one of his most beloved albums.   The Mountain Goats’ catalog is thick with recurring characters—Jenny, who originally appears in the All Hail West Texas track bearing her name, as well as in “Straight Six” from Jam Eater Blues and Transcendental Youth side two jam “Night Light,” is one of these, someone who enters a song unexpectedly, pricking up the ears of fans who are keen on continuing the various narrative threads running through the Mountain Goats’ discography before vanishing into the mist. In these songs, Jenny is largely defined by her absence, and she is given that definition by other characters. She is running from something. These features are beguiling, both to the characters who’ve told her story so far and to the listener. They invite certain questions: Who is Jenny, really? What is she running from? Well, she’s a warrior and a thief, and, this being an album by the Mountain Goats, it’s a safe bet whatever she’s fleeing is something bad. Something catastrophically bad.   Jenny from Thebes is the story of Jenny, her southwestern ranch style house, the people for whom that house is a place of safety, and the west Texas town that is uncomfortable with its existence. It is a story about the individual and society, about safety and shelter and those who choose to provide care when nobody else will.   This is what a follow-up to All Hail West Texas entails. But if you think about the Mountain Goats as they were in 2001, when Darnielle wrote and recorded that album on his own, mostly into his Panasonic RX-FT500 boombox, and how they are now as the recording and touring outfit of Darnielle, Peter Hughes, Matt Douglas, and Jon Wurster, you may find yourself asking how. That occurred to Darnielle, too.   “If we’re going to do a sequel to a record that was recorded almost entirely on a boombox,” he asks, “why not do the opposite and make it as big as possible?”   Decamping to Tulsa, Oklahoma’s legendary The Church Studio with Grammy-winning producer/engineer Trina Shoemaker (Sheryl Crow’s The Globe Sessions), that is exactly what the Mountain Goats did. Jenny from Thebes is a lush collection of showtunes, pushing Darnielle as a vocalist and the Mountain Goats as a band, broadening their sonic palette once again by leaning into influences like Godspell, Jim Steinman, and The Cars. The resulting album cuts a path that is simultaneously full of allusions longtime Mountain Goats fans will spin entire mythologies from while also being their most inviting record for those who’ve yet to be converted to the cause.   Lifted by Matt Douglas’ horn and string arrangements, the dreamy guitar of Bully leader (and Bleed Out producer) Alicia Bognanno, and backing vocals from Kathy Valentine of The Go-Go’s (“Only One Way,” “Same as Cash,” “Going to Dallas”) and Matt Nathanson (“Fresh Tattoo”), the album is a widescreen musical in scope, a melodrama of richly detailed characters and sweeping emotions.   Explaining the title of the album, Darnielle notes that Jenny is not unlike a character from Greek literature, someone on the verge of an unimaginable tragedy whose signs and portents will not make themselves known to her until she finds herself amidst the wreckage. “These things never happen in isolation,” he says. “One bad event leads to and is the reason for another bad event. Jenny should know that you can’t keep a safehouse in a west Texas town, but she’s too wrapped up in the process and has to go through the loss to understand how it happened.”   Whether or not she comes to understand how it happened, the events of Jenny from Thebes set Jenny on the run. A woman and her custom yellow and black Kawasaki held in the memories of a vanishing few, someone who held the gate for as long as she could, as a warrior might, before disappearing into the night like a thief.

Year of The Knife have announced their new album, No Love Lost, due out October 27th from Pure Noise Records. The album finds Year of The Knife at their most sonically honed with nine lean and vicious songs that clock in at a blistering 20 minutes. Recorded by Kurt Ballou (Nails, The Armed, Code Orange), No Love Lost sounds truly massive, a crushing amalgam of hardcore and death metal influences that demands your attention and stays with you long after its concise runtime. 

To mark the album's announcement, Year of The Knife have shared two new singles, the 86 second "Wish" and 48 second "Last Laugh," highlighting both the economy of songwriting and the level aggression found on No Love Lost. Both tracks also include guest vocals from some of heavy music's greatest, with the former featuring Devin Swank of Sanguisugabogg and the latter featuring Dylan Walker of Full of Hell.

In late June, Year of The Knife were involved in a car accident while on tour. All four members endured serious injuries, especially vocalist Madison Watkins, who suffered many broken bones and a traumatic brain injury. No Love Lost sounds even more urgent and defiant in light of the band's recent circumstances, and profits from the album's sales will be going directly to the members' ongoing recovery efforts. 

ONE MORE TIME... is the highly anticipated new album from blink-182, featuring the group’s iconic lineup together again – Mark Hoppus [bass, vocals], Tom DeLonge [guitar, vocals], and Travis Barker [drums].  The trio recorded ONE MORE TIME... over the course of 2022 and 2023 in the midst of their blockbuster reunion tour, which sold out arenas, amphitheaters, and stadiums across the world. ONE MORE TIME… features 17 new songs that capture the band at the top of their game, layering in themes of tragedy, triumph, and most importantly, brotherhood.

Not many heroes of indie folk have won an Oscar or created the basis of a successful stage musical, but Glen Hansard is an artist who can wear both of those feathers in his cap. As a member of the Frames and the Swell Season, Hansard won acclaim for his literate, intelligent, and passionate songwriting and his nuanced vocals, and he’s gone on to win similar accolades as a solo artist. Hansard first gained an audience for the limber but emphatic indie rock he created as a member of the Frames, then gained international fame with fellow singer and songwriter Markéta Irglová in the duo the Swell Season, whose emotionally open, primarily acoustic indie folk became the centerpiece of the award-winning independent romantic drama Once. After going out on his own with his 2012 solo debut, Rhythm and Repose, Hansard has shown a stylistic diversity as he embraced the sound of ‘70s singer/songwriters on 2015’s Didn’t He Ramble, vintage soul on 2018’s Between Two Shores, and an eclectic swing between subtle folk and noisy indie rock on 2019’s This Wild Willing.

Glen Hansard now presents All That Was East Is West Of Me Now, his first solo album in 5 years. The album demonstrates the Oscar-win-ning singer-songwriter’s unique ability to blend Irish folk with modern rock & the punch of his storied live shows, of which The Guardian says, “Hansard’s powerful voice, whether raw with passion or tender with regret, shines above arrangements bursting with swagger.”

Heading back to the band’s studio in London, Bombay Bicycle Club have lovingly crafted album six – My Big Day. It’s a powerful, expansive body of work, replete with an irrepressible dose of joy. My Big Day also found the band’s studio door wedged open for a collaborative experience, inviting the likes of Jay Som, Nilüfer Yanya, and Holly Humberstone and Damon Albarn who all feature. On first listen, Bombay Bicycle Club have opened up the curtains and let this revelatory set of vibrant, joyous compositions bask in the sunshine. It’s an album that means business, sculpted by one of Britain’s best guitar bands.

Goodnight, God Bless, I Love U, Delete. presents an enchanting blend of personal reflections and diverse ideas, offering a glimpse into the captivating creative journey of Chino Moreno and Shaun Lopez as ††† (Crosses). Throughout the album, they skillfully craft immersive soundscapes that evoke a profound sense of emotion and empathy, a testament to their close-knit collaboration and enduring friendship over decades. Moreno and Lopez embrace atmospheric electronic textures, adorned with both intricate and minimalistic arrangements, all amplified by Moreno’s mesmerizing vocals. The result is a tour de force which boasts features from EL-P and Robert Smith adding even more depth and richness to the music. The themes explored in Goodnight, God Bless, I Love U, Delete. oscillate between optimism and dark romanticism, showcasing the duo's ability to traverse contrasting emotions and eclectic musical styles delivering a truly magnificent body of work.

This 3LP set on purple smoke vinyl captures the original band lineup of Black Sabbath live from their 1997 reunion tour, and features 16 live performances of their greatest hits remastered from the original source tapes, along with 2 remixed bonus tracks. Indie Retail/D2C exclusive on purple smoke vinyl.

Wisely armed with bliss to fight our age of calamity, LA psych-kraut explorers Hooveriii return with their pastoral and expansive new album “Pointe.” “Pointe” is not the sound of Hooveriii maturing. It’s the sound of a band at the height of their power ascending.

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. By constantly upping themselves across nine unpredictable and adventurous studio albums, the trailblazing Toronto outfit founded by songwriting and production partners Emily Haines and Jimmy Shaw along with bandmates Joshua Winstead and Joules Scott Key is proof that you can amass an untouchable catalog without ever signing to a major label or changing your lineup. Their latest LP, Formentera II, out October 13 via their label Metric Music International and Thirty Tigers, is a testament to their singular purpose. It stands among their best and most genre-defying work and closes the 18-song cycle started by 2022’s critically acclaimed Formentera.

2023 is really starting to heat up for rock band Beartooth, now with 1.2 billion career streams, over 800,000 records sold, “Best International Artist” win at the Heavy Music Awards 2022, and recent nomination for ‘Best Heavy Record’ for their US radio hit single “Riptide” at the A2IM Libera Awards. Beartooth hit the top of both the Billboard Mainstream Rock & US Active Rock radio charts in May 2023, landing at #1 with their Papa Roach collab single “Cut The Line”. Thus begins a new era for the band, marked by their most successful UK & European spring headline tour (headlining at Wembley Arena), and 2-month US Co-Headline tour with Trivium, top billing at Sonic Temple Festival and “Sunshine!” fan track release in April (currently #1 on SiriusXM Octane’s Big Uns Countdown). Beartooth now prepare to release their biggest and most commercial rock record to date, as follow-up to their 2021 chart topping album “Below” which debuted at #30 on the Billboard 200 and cleaned up on Luminate’s US Sales charts (#1 Alternative, Rock, and Hard Rock, #2 Vinyl, Independent and Current Album sales).

Artist Quote on Album: “The Surface” “Beartooth’s entire discography has been snapshots of my inner monologue and emotional state over the years with a recurring theme, depression and self loathing. It’s been tough to understand why I’ve felt the way I do for so long. During the pandemic I was faced with 2 distinct paths in life. One, I continue doing nothing to manage the realities of my mental health and continue down a path of self destruction, ultimately ending in my demise. Two, choose to do the work needed to maintain a healthier relationship with myself, no matter how difficult or painful.

This album is the story of my beginnings in the new world I’ve created for myself. One focused on health, self love, positivity, understanding, hard work, and most of all second chances. At the end of the day, life is short for all of us. We can’t escape the end, so why not make friends with it and live in a world focused on living a personally fulfilling life.” – Caleb Shomo of Beartooth

- 20th Anniversary of the release of AFI's Platinum-certified 6th album.

- Only 20,000 copies were pressed on vinyl originally and demand for the title is extremely high and going for a lot of money online.

- One-Time-Pressing for this ThinkIndie Exclusive Edition.

Steve Miller Band’s eighth studio album, The Joker, was a huge turning point for the band. Released in 1973, the platinum-certified record features the #1 title track which became a worldwide hit. To celebrate its 50th anniversary, this limited-edition gold vinyl pressing is available exclusively through indie retail stores.

Also Available 2CD, Super Deluxe Edition 3LP + 7in, Indie Exclusive Limited Edition Gold LP

Green Day’s third studio album Dookie was released in February 1994, and has since sold over 15 million copies worldwide, including 10 million in the US (RIAA Diamond certified). The album is an iconic punk-rock-pop masterpiece and one of the most influential and defining albums of the 1990’s. It spawned five hit singles that are still hugely popular songs: “Longview”, “Basket Case”, “Welcome to Paradise”, “When I Come Around”, and “She”.

Limited Edition Super Deluxe Box Sets (vinyl and CD) will be released on September 29, 2023, to celebrate the 30^th Anniversary of this landmark album.

In addition to the original album, the super deluxe box sets will include a wealth of rare and unreleased material. The legendary Woodstock ’94 performance is included – previously released as a very limited Record Store Day vinyl release. The 6 LPs (or 4 CDs) also feature 17 unreleased demos, 6 studio outtakes (3 unreleased), and a 17-track unreleased club show from Barcelona in 1994.

The deluxe vinyl box features the six LPs pressed on 6 different varieties of brown vinyl, plus a 36-page 12” x 12” book. The box also includes many fun memorabilia items inspired by the “Dookie” artwork: Doggie Poop Bags, Air-Freshener, Poster, Color-in litho, Button Set, Magnet Sheet, Postcard, Bumper Sticker and Paper Plane.

The CD box includes 4 CDs (the same audio content as the vinyl box), 48-page book, Button Set, Air-Freshener, Magnet and two stickers.

All-new reissue of the critically acclaimed and long-out-of-print 2009 debut solo album from The Black Keys singer and guitarist Dan Auerbach. An intimate and underrated affair with shades of greazy rock & roll, blue-eyed soul, and bluegrass hollers. Reissued with new artwork and pressed from the original master.

Djo – the critically acclaimed brainchild of multi-talented musician/actor Joe Keery – makes its long awaited return with the game-changing new album, DECIDE. A spellbinding collage of snaky pop hooks, neon melodies, and deeply personal singer-songwriter lyricism, the album melds high-tech songcraft with quick wit, irrepressible spirit, and an impressive breadth of vision that showcases glowing synths and big beats over the trippy guitars that defined 2019’s acclaimed debut, TWENTY TWENTY. Blissed-out bops like “Change” see Keery delving deep into a broad spectrum of eclectic influences, deconstructing hyperpop, euphoric psychedelia, spiky new wave, and symphonic 70’s rock into something utterly unique via dauntless melodies and technical innovation.

Twenty Twenty: Joe Keery, who you may also recognize from the show “Stranger Things,” began playing music in his teens after co-opting his sister’s guitar, but it was during his college years at DePaul University in Chicago that he formed his first band and began to seriously pursue music. That band was Post Animal, the heavy psych rock outfit that went on to release a self-titled EP and two subsequent albums via Polyvinyl. They also toured with artists like Twin Peaks, Wavves and Cage The Elephant and played a number of US festivals. In 2019, with no announcement or fanfare, Keery’s solo-project Djo was unveiled not with a single, but a lush, self-reflective, layered 12 track full-length album titled Twenty Twenty. “Joe Keery built a carnival. The resonance of each riff or beat is not new, but redesigned and reshaped into the beauty it is today. The face of psych or alternative mirrored through his own design, and it reveals a person who shouldn’t be underestimated,” said Rodeo Mag. Despite the album being released under the radar and without a label, fans found their way to it, and Twenty Twenty has now seen more than 200 million streams to date.

Jason Isbell's songs are filled with ghosts. They're haunted by spirits both welcome and unwelcome, by the personal and historical legacies that make us who we are. Nowhere Is this more evident than on his 2013 breakthrough album Southeastern. Isbell offers confessions. reflections. and promises that contront and make communion with those who have come before and remain wIth us still. Its twelve tracks represent an extended meditation on the concept articulated by another celebrated southern storyteller, author William Faulkner: "The past is never dead. It isn't even past."

At this point, it is almost impossible to say what makes for a classic Animal Collective album; the standard fluctuates with the weather, your temperament, whatever chemicals may or may not waft through your mind. But from start to finish, first listen to last, Isn’t It Now? absolutely lands as a classic, its mix of playfulness and earnestness, glittery pop and tessellated textures seeming to synthesize and update all that has ever made and still makes this band so compelling. It is experienced and wise, energized and young, the work of four people committed to finding the frontier of a beginner’s mind, together. Recorded, mixed and co-produced by Russell Elevado (D’Angelo, The Roots, Kamasi Washington).

Revered Atlanta rock 'n' roll duo '68 will make their awaited return next month for the release of their 4th full-length album, "Yes, and..." Due out September 29th from Pure Noise Records, '68's latest offering is their hardest rocking record to date. A sonic explosion of heavy riffs and frantic rhythm abound on the band's massively anticipated follow up to 2021's critically acclaimed "Give One Take One." Commenting on the upcoming album, vocalist/guitarist Josh Scogin says: "This is by far the heaviest album ’68 has ever done.  It wasn’t on purpose, it just sort of evolved into what it is.  As soon as we could see the full gravitas of the album, we just leaned into it. Many of the bluesy tracks didn’t find a home and some of the parts that were on the fence, we doused with gasoline.  For us, the pendulum has never been extended so far, in one direction. This is exciting because it was obvious how this album needed to turn out and it pretty much solidifies how the next album will end up as well."

"Flying Wig" is an album of recurrent dualities; a can of paradoxes, a box of worms. The pine-surrounded cabin studio where Banhart was “constantly listening to The Grateful Dead” somehow birthed something slick, city pop-adjacent and eno-esque. It’s the actualisation of a “precious friendship” with producer Cate Le Bon - a coming together prophesied by the mirror-image titles of their early solo albums (Banhart’s “Oh Me Oh My” / Le Bon’s “Me Oh My”), a tenderness built on crude haircuts (“we finally met, soon after she was cutting my hair with a fork and that was that”) and home-made tattoos.

After forty years of marriage, Buddy and Julie Miller have learned to welcome a song however it arrives, questioning only where the song is taking them rather than where it originated. There’s no process, no assembly-line procedure, just an openness to those bursts of inspiration and those hours of refinement, which means their fourth album together, In the Throes, sounds lively and diverse, eccentric and slightly askew: a deeply soulful collision of mournful gospel, dusty country, cosmic blues, lusty rockabilly, ecstatic r&b, and anything else that crosses their minds.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” Mitski says. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she’s gone. Listening to it, that’s precisely how it feels: like a love that’s haunting the land.

“This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star.

The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.

Remastered version of the album, housed in the original jacket with a printed sleeves and pressed on 180gm Coke Bottle Clear vinyl. Indie Exclusive. Limited Edition.

The Remastered albums are available in the following formats: Limited Edition Super Deluxe 10CD/Blu-ray, Deluxe 2CD, CD, LP, Limited Edition Deluxe 4LP, Indie Exclusive Limited Edition Coke Bottle Clear LP, Half Speed LP

The sophomore album from 11x Platinum-certified, 43x Gold-certified, and GRAMMY®-winning rock icon COREY TAYLOR .“I have no fear when it comes to music. None,” Corey Taylor declares. “It feels so good to really lean into the things that I've been chomping at the bit to do.” Those “things”? The 13 diverse, unforgettable songs on CMF2, ranging from the punchy, timeless first single “Beyond” to “Someday I’ll Change Your Mind,” a soaring, sentimental stunner with an infectious chorus. The songs move seamlessly from the punk rawness and anthemic rallying cry of “We Are The Rest” to the acoustic lament “Breath Of Fresh Smoke” to “Post Traumatic Blues,” which has a wild sensibility that echoes the lyrical topic of PTSD.

Killer Mike’s MICHAEL marks the celebrated MC’s first solo project since 2012’s R.A.P. Music. MICHAEL introduces the world to the totality of Michael Render, a lifelong rap fiend whose consciousness is steeped in the sounds of community that raised him – multiple eras of southern rap flows, Sunday church service and barbershop discourse. A 14-track album produced by No ID featuring the likes of Future, Young Thug, Ty Dolla $ign, Curren$y, André 3000, 6LACK, EL-P, Blxst, Eryn Allen Kane and more! 2 LP set includes a 24” x 12” pull-out insert.

Multi-platinum selling artist Thirty Seconds to Mars makes a triumphant return with their sixth studio album, It’s The End Of The World But It’s A Beautiful Day. The record heralds a new era for the band, one that not only explores the darker sides of the human experience but the hope as well, an arresting reminder that even in the face of seemingly impossible obstacles, there is still beauty to be found in the world.

Bahamas’ sixth full-length album, BOOTCUT, sees Afie Jurvanen lean into his (Alt and Old-Time) Country music influences. Produced by Grammy-nominated Robbie Lackritz (Jack Johnson, Peach Pit) and Dan Knobler (Allison Russell), the album features Country legend (and current Eagle) Vince Gill, pedal-steel maestro Russ Pahl (Kenny Rogers), bassist Dave Roe (Johnny Cash), harmonica player Mickey Raphael (Willie Nelson) and many more.

3-time GRAMMY® award winning recording artist olivia rodrigo will release her new album, GUTS, on september 8th via geffen records. available to pre-order now.

GUTS was recorded with producer daniel nigro, who also collaborated with her on SOUR, her chart-topping, 4x platinum debut album.

“for me, this album is about growing pains and about trying to figure out who I am at this point in my life and exactly what I want to say in my songs."

Celebrating the 25th Anniversary of Beastie Boys’ multiplatinum Hello Nasty album, this deluxe vinyl reissue is a rare version of the album that was released as a limited run in 2009. It includes two additional LPs with 21 bonus tracks (remixes, B-sides, rarities) and features the singles “Intergalactic” (certified platinum), “Body Movin’” and “The Negotiation Limerick File.” Co-produced by Beastie Boys and Mario Caldato Jr., it’s a record that embraces a kaleidoscope of musical influences, with hat-tips to Latin psych-rock, Brazilian samba, jazz-funk, dub, post-punk and an impressive collection of collaborators ranging from reggae vagabond Lee “Scratch” Perry to Cibo Matto’s Miho Hatori. Pressed on 180g vinyl, this Deluxe 4 LP boxset is housed in a hardcover slipcase and includes a removable sew-on patch. Limited Edition.

Róisín Murphy, the Queen of Electronic Music and the Avant-Garde is known for her innovative style and endless talents and has established herself as one of the most exciting acts today. Róisín is set to release her upcoming album Hit Parade on Ninja Tune. Hit Parade is the result of years of collaboration with DJ Koze, who produced the entire record.

Golden State, the second full-length from singer/songwriter Logan Ledger, marks a stylistic departure from the timeless country noir of Ledger’s critically lauded debut. This time around, Ledger worked with producer Shooter Jennings, dreaming up a lush and spirited sound partly inspired by the California country-rock scene of the late-’60s and early-’70s. The result is a sublime setting for Ledger’s layered meditations on loss and despair and the search for transcendence.

Rustin’ in the Rain is the eagerly anticipated new album from singer-songwriter Tyler Childers. This collection of new songs is Childers’ sixth studio album, and the follow up to his critically acclaimed release Can I Take My Hounds to Heaven?. 

Rustin’ in the Rain is produced by Childers alongside his longtime band The Food Stamps, and the album features the heartfelt single “In Your Love,” which Tyler first teased to fans earlier in 2023 during his Bonnaroo Music Festival performance.

Black Classical Music, the first official solo release of the acclaimed UK drummer, Yussef Dayes. Across 19 tracks, it melds the spirit of everything from 70s funk, reggae and Senegalese percussion while simultaneously nodding to furious dancefloor pacings of the soundsystem continuum. At every turn, Yussef’s distinctive drum licks and Rocco Palladino’s bass are the sturdy anchors; aided by Charlie Stacey/Elijah Fox (keys/synths), Venna (saxophone) and a whole host of honorable features including: Chronixx, Jamilah Barry, Tom Misch, Shabaka Hutchings, Miles James, Sheila Maurice Grey, Nathaniel Cross, Theon Cross and the Chineke! Orchestra, the first professional orchestra in Europe to be made up of majority Black and ethnically diverse musicians.

Yussef Dayes’ rise can be first linked to the short lived duo Yussef Kamaal, with keyboardist Kamaal Williams who released one album Black Focus, in 2016.  2019/2020 birthed two EPs and one album within close proximity: Blackfriars, and Duality, and sandwiched in between, What Kinda Music, a collaboration with Tom Misch. Since then, his list of collaborators has blossomed to include an official remix of Pa Salieu’s “Frontline”, drums on “Motor City Madness (People Mover Remix)” for Waajeed, and on Wizkid’s “Made In Lagos” album, plus production for Kali Uchis (“Blue”) and Kehlani (“Hate The Club”) and 2022’s joint release with Soulection entitled Live At Joshua Tree.

Born out of a global pandemic, ‘Boundless,’ is the third full length album from With Honor. Lyrically, the record focuses on nature to explore spiritual themes of self-healing, and inner peace as well as tackling socio-economic issues of poverty, gun-violence, and patriarchy. Written and recorded over a two year span, ‘Boundless’ bleeds reconnection of the band’s members; to each other, to themselves, and to the world around. The title itself aims to highlight the band’s shared belief that we, when harnessing the power of our spirits, hearts, and minds, are without limits.

Royal Blood ignite an epic summer ahead as they announce the September 1st release of their fourth album ‘Back To The Water Below’.

From the very beginning, Royal Blood’s story has been one of two life-long friends whose shared passion and dedication for writing and performing has led them on a remarkable adventure together – a story that has yet to be repeated, and is a feat as rare as it is remarkable. Long before Royal Blood were even formed, they spent years together in various bands playing to half empty bars around Brighton - and only then did they suddenly become a decade-in-the-making overnight success story. One day they were plotting how to recoup the meagre £300 they had spent on their first recording, but within a year they were at the top of UK album charts, storming Glastonbury and winning the BRIT Award for Best British Group.

Following it’s surprise digital release, Sigur Rós’ first new studio album in ten years, ÁTTA, is their most intimate and emotionally direct record to date. Few bands cut through the noise and distractions of the world to bring you a pure elemental truth or feeling like Sigur Rós. As you hear on ÁTTA, there’s a new compulsion and drive to the band that comes with the new formation of the line up. Multi-instrumentalist Kjartan Sveinsson is back in the fold – having left the band in 2012 – to join frontman Jónsi and bassist Georg Holm. Recorded across multiple continents - in the band’s Sundlaugin studio in Iceland, the legendary Abbey Road in the UK and a number of studios in the US - ÁTTA leans heavily towards the orchestral, and touches on everything that has made Sigur Rós one of the most ambitious and acclaimed bands of recent times, with close to ten million albums sold, whilst signposting an exciting and expansive possibility for their future. ÁTTA prominently features the London Contemporary Orchestra conducted by Robert Ames, alongside brass performed by longtime Icelandic collaborators Brassgat í bala. It is mixed and co-produced by another frequent collaborator Paul Corley, alongside the band."

Los Angeles psych-punk quartet Frankie and the Witch Fingers have returned with their seventh studio album Data Doom, due September 1 via The Reverberation Appreciation Society / Greenway Records. To ring in the announcement, the band has shared album highlight “Mild Davis” with a mind-bending animated music video. Inspired by Miles Davis’ early-70s electric work, the track’s dizzying 7/4 meter winds through chunky riffs, commanding vocals and proggy synths before crash-landing in a minefield of angular guitar harmonies.

The brew has boiled over lately, a pressure-cooked chaos that can no longer be contained. The growl has grown to a howl.. the howl is at the door. Few are as ready to meet the madness head on as Frankie and the Witch Fingers. On the upcoming Data Doom the band hurtles the listener head first into the wood-chipper of technological dystopia, systemic rot, creeping fascism, the military-industrial profit mill, and a near-constant erosion of humanity that peels away the soul bit by bit. With a fuse lit by these modern-day monstrosities the band seeks to find salvation through a thousand watt wake-up of rock n’ roll exfoliation.

‘VOLCANO’ follows Jungle’s previous album ‘Loving In Stereo’, which proved to be a landmark moment for the acclaimed UK duo. It achieved their highest domestic UK chart position to date debuting at #3, while also achieving their best ever album chart positions in key international territories such as Australia, Germany, Switzerland, Belgium, Netherlands; and in the US it catapulted to #1 on the Billboard Dance Albums chart which led to major Arena shows as guests to Billie Eilish. The free-spirited energy that runs right through ‘VOLCANO’ reflects how organically it came together. J and T had written most of the record on tour before starting the recording process while staying in an Airbnb in Los Angeles. It was later completed back home in London at their favourite location, Studio B at Metropolis Studios. This time around, the duo wanted to include a wider variety of voices within the album. In addition to Erick The Architect, they reunited with Bas (who previously featured on the ‘Loving In Stereo’ single ‘Romeo’) for ‘Pretty Little Thing’, as well as calling on talents in the shape of Roots Manuva, Channel Tres and JNR Williams.