2020's A Hero's Death saw Fontaines D.C. land a #2 album in the UK, receive nominations at the GRAMMYs, BRITs and Ivor Novello Awards, and sell out London's iconic Alexandra Palace. Now the band return with their third record in as many years: Skinty Fia. Used colloquially as an expletive, the title roughly translates from the Irish language into English as 'the damnation of the deer'; the spelling crassly anglicized, and its meaning diluted through generations. Part bittersweet romance, part darkly political triumph - the songs ultimately form a long-distance love letter, one that laments an increasingly privatized culture in danger of going the way of the extinct Irish giant deer.
Joshua Hedley is “a singing professor of country & western,” he declares on his raucous and witty new album, Neon Blue. It might sound like a punchline, but it’s not. An ace fiddle player, a sharp guitarist, and a singer with a granite twang, he’s devoted his entire life to the study of this genre. Ask him about it and he’ll explain: “When all my friends went off to college, I went to Nashville. I was 19 years old playing honkytonks and getting an education.” His 2018 debut, Mr. Jukebox, showcased his deep knowledge of country’s history, in particular the beery ballads of the 1950s and ‘60s. His mentors were George Jones, Ray Price, and Glen Campbell, but his most remarkable accomplishment was putting his own spin on their style.
Neon Blue, on the other hand, examines a very different, often forsaken era: the early 1990s. “The last bastion of country music,” says the professor, “was the early 1990s, roughly 1989 and 1996. You could turn on the radio and immediately know you’re hearing a country song. You could still hear steel guitar and fiddle. But there was a hard fork around 1996 or ’97, when country veered off into pop territory. Neon Blue asks, What if that fork had never happened? What if country kept on sounding like country?”
That era may have been dismissed by traditionalists at the time as slick or overproduced, but Hedley finds something exciting in that old hat-act sound, and Neon Blue plays up the excitement of bigger-than-life choruses, the relatable emotions of those sad-eyed ballads, and the inventiveness of the lively production. “The sound is modern,” he says, “but it’s still discernibly country.”
Gifts From The Holy Ghost, Dorothy Martin’s third studio album as frontwoman for the pseudonymous rock band Dorothy, is the album she’s always wanted to make. Born from a sense of diving urgency, it’s their most bombastic rock n’ roll work yet. While their debut album was made on a combination of whiskey and heartbreak, Gifts was built on sobriety, health, and spiritualism, in a way that reverses the clichéd “good girl gone bad” narrative. It features the Top 40 Rock track, “Rest in Peace.”
Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE.
With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo-joined by Joachim Cooder on drums and bass-the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.
On Paint This Town, Old Crow Medicine Show offer a riveting glimpse into American mythology and the wildly colorful characters who populate it. Co-produced by OCMS and Matt Ross-Spang the album pays homage to everyone from Elvis Presley to Eudora Welty while shedding a bright light on the darker aspects of the country’s legacy. Fueled by Old Crow's freewheeling collision of Americana, old-time music, folk, and rock & roll, Paint This Town turns razor-sharp commentary into rapturous sing-alongs.
Bonnie Raitt is a singer, songwriter and guitarist whose unique style blends blues, R&B, rock, and pop. After 20 years as a cult favorite, she broke through to the top in the early 90s with her GRAMMY-award winning albums, Nick of Time and Luck of the Draw, which featured hits, “Something to Talk About” and “I Can’t Make You Love Me” among others. Raitt’s widely acclaimed 2012 independent release Slipstream sold over a quarter-million copies, making it one of the top selling independent albums, and earned Raitt her 10th Grammy Award (Best Americana Album). In February 2016, Raitt released her highly anticipated 20th album, Dig In Deep (Redwing Records). On tour for much of 2017-2019, Raitt and her band performed in Australia, New Zealand, and Canada before touring as support for James Taylor in stadiums and arenas across the U.S., United Kingdom and Europe. As known for her lifelong commitment to social activism as she is for her music, Raitt has long been involved with the environmental movement and continues to work on safe energy issues, environmental protection, social justice, human rights, and blues/music education.
Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you’ll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says “California,” a place where lonely people gather together like birds.
The song “Rubberneckers” follows the story a romance from beginning to breakup, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, “With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist.”
If every great record is a world, then this is Christian Lee Hutson’s world. It’s one filled with the fuzzy haze of a dream, and the half-remembered moments of a forgotten life. It’s a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.
Esteemed hip-hop artist Vince Staples follows up his intimate self-titled album with RAMONA PARK BROKE MY HEART. “There’s a direct correlation,” Staples says of the two records. “They were kind of created at the same time. I was in a similar state of mind. This album will make even more sense if you heard the previous one, but this one has more answers.” Long Beach’s Ramona Park neighborhood is dear to Vince’s heart. “It’s symbolic of home,” he says of why he dedicated the album to it.
S. Carey is the moniker of Eau Claire, Wisconsin-based multiinstrumentalist, songwriter, and producer Sean Carey. Over the past decade, Carey has fostered his flourishing solo career via themes of nature and sustainability, songwriting built from jazz beginnings, and heartfelt, emotive lyricism. His latest and fourth album, Break Me Open, is best described in his own words:
In Break Me Open, I confronted darkness, I wrote about fear, I looked at love from different angles, I left it all out on the field. These past couple years have been the hardest of my life: full of grief, loss, and change. I feel like I had two choices. I could run from life, turn away, grow cold, resort to drugs, run and keep running. Or, I could give myself a deep look within. I could dig deep where the pain lives, where fear is festering, to try shed a new skin and come back a better person. Everyone is so far from perfect.This is not a “divorce” album. And while going through that has shook me to my core, leaving me at times, wondering who I am, and where to go, this record is bigger. It’s about love - past, present, and future. It’s about fatherhood - the overwhelming feeling of deep love for my kids and the melancholy of watching them grow up right before my eyes. It’s about accepting my faults and wrongdoings, exposing myself, and trying to know myself better than I did the day before. But above the darkness, it’s a message of hope, honesty, and growth. It’s a call to be vulnerable: Break Me Open.
Following the `Back to the Light' multiformat reissue of 2021, Brian May reissues 1998's `Another World' album - the latest release in his Gold Series. Limited Edition Collector's box set features a 180-gram blue vinyl LP, the remastered album on CD, a bonus disc of tracks chosen by Brian and his team, plus an exclusive enamel pin bage.
The Epitaph debut from pop punk upstarts, Magnolia Park. Contrary to what some may say, pop punk is alive and well in 2021, and groups like Magnolia Park are making sure it stays that way. Hailing from Orlando, Florida, Magnolia Park is a five-piece consisting of lead vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, bassist Jared Kay, and drummer Joe Horsham. In recent years, experimental sounds and more personal lyrics have dominated the pop punk scene. While staying true to the genre's roots, the members of Magnolia Park bring their own twist to the table with louder, angrier vocals and a fusion of genres ranging from hip-hop and emo to hardcore and alt rock.
Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter/bassist at the helm of the project, Harriette Pilbeam. Produced by Jorge Elbrecht, Giving the World Away is Hatchie’s most thunderous, sprawling work yet. Featuring input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it’s synthed-out, sonic opulence, a more structured and ornate musicality with traces of ‘90s trip-hop and acid house influences.
Pilbeam initially intended for these songs to go in a higher-energy direction. She had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme of dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself.
Giving the World Away is an album about self-confidence, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, Giving the World Away is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.
2022 release, the 11th album from the Texas-based pop punk band. The follow-up to 2016's Drunk Dynasty, this album was recorded in September 2021, with longtime producer Linus Of Hollywood realigning with the band in the Pocono Mountains, Pennsylvania. Includes the singles " I Wanna Be Brad Pitt," "Alexa Bliss," "Getting Old Sucks (But Everybody's Doing It)," and 'Killin' 'Em With Kindness."
Formed in South London in the mid-1980s, Loop blazed a trail with their potent mix of motorik beats and heavy guitar riffs, recording a trio of brilliant albums that set the indie charts alight before imploding in 1990 after the release of album number three, A Gilded Eternity. They were post-psychedelic, pre-shoegaze figureheads in a world of anodyne pop jangle and baggy rhythms.
Today, Loop stand as innovators in a musical world that has embraced and followed their defiantly individual sound – there are hundreds of contemporary neo-psych artists out there who arguably would not exist without Loop’s pioneering music. Loop has returned, with music that continues to evolve and grow in the most startling of ways on Sonancy.
Jeanines' 2019 self-titled debut was an indiepop tour-de-force that drew from a deep set of DIY pop influences, garnering attention from well beyond the international pop underground. Now they're back with "Don't Wait For A Sign," and it's a real gem. With the band now divided geographically and touched by the isolation and uncertainty of the pandemic, Jeanines' new album is deeper and a bit darker than their debut. The folk influences feel more pronounced, at times recalling early Fairport Convention or Vashti Bunyan as much as indiepop touchstones like Dear Nora, The Aislers Set, and the many bands of Pam Berry. The thirteen songs on "Don't Wait For A Sign" show a band in total mastery of their idiom'a brilliantly compelling blend of timeless influences illuminated by distinctive songwriting and sharp lyrics. The arrangements are always on point, full of interesting transitions and modulations but never fussy or in the way of the songs themselves. Alicia Jeanine's vocals really take flight here, richer and more confident, and often layered in harmony. Second albums can be tricky, but but with "Don't Wait For A Sign' Jeanines ably manage to build on their terrific debut with well-honed songwriting, singular melodies, and unerringly sympathetic production.
The White Buffalo is Jake Smith: singer/songwriter, guitarist, teller of stores; an artist whose voice (an emotive timber-shakin' baritone) seems directly linked to a greater truth; an artist who will not be swayed by fashion or restricted by genre. On The Widow's Walk is a loosely linked collection of dark thrills produced by Shooter Jennings. Deluxe Edition contains 4 bonus tracks, including 3 live studio session tracks and "Guiding Light" which is available physically for the first time.
The greatest bassist leader jazz has ever known, Charles Mingus, with his spirited playing and spontaneity, always kept his ears and fingers on the pulse. “Mingus was something else, man,” Miles Davis wrote in his own book. “A pure genius, I loved him.”-This year marks the birth centenary of Charles Mingus, whose musical legacy is still ongoing. From artists like Kamasi Washington bringing him to a new generation, Chrissie Hynde, whose latest album includes a Mingus cover, Candace Springs, Elvis Costello, to Gang Starr sampling him, and Joni Mitchell writing lyrics to his music. -Originally released in 1957 on the Jubilee label, Mingus Three is one of only two albums led by Mingus in a trio setting, featuring pianist Hampton Hawes and drummer Dannie Richmond. This remastered release includes a whole extra disc of previously unreleased outtakes, discovered by chance, from these sessions, as well as liner notes by Charles Mingus’ friend and colleague Sy Johnson.
Spiritualized will release "Everything Was Beautiful" via Fat Possum on 2/25/22. It is the ninth studio album from Spiritualized and it comes 30 years after the debut album. This is the follow up to 2018's "And Nothing Hurt". Jason Pierce performs 16 different instruments across the album. It is recorded at 11 different studios and includes more than 30 musicians across the album. There will be an indie exclusive Pink vinyl inserted into a gold foil sleeve, housed in a high gloss UV Jacket that includes a removable pill box with braille inlay. Some assembly required. Designed by Farrow Design.
Available for the first time on vinyl, this release combines Thomas' neo-classical / composition EPs 'Quiet City' and 'How Queer' ahead of his first official film score due later in 2022. 'How Queer' features his theme for the BBC America syndicated 'Queers' series starring Russel Tovey, Alan Cumming and Ben Whishaw. 'Quiet City' lives as a calmer sister record to his #1 UK Dance Album 'Fun City', produced as NYC was in its first round of COVID lockdowns.
'Lil G.L. Presents: Jukebox Charley' is the 4th installment in Charley Crockett's 'Lil G.L. Presents' series of releases, which focus on heartfelt renditions of songs from some of Charley's biggest musical influences. This newest cover record is packed with songs originally written by greats such as Tom T. Hall, Willie Nelson, Johnny Paycheck, George Jones and more. Look out for Charley Crockett in your local independent record store.
Hong Kong born German based Bonnie Li, writes, composes and sings her melancholic and touching ‘Trip Pop’ in three languages (English, French & Chinese Mandarin), giving her music a multi-lingual cinematic experience described as "smoky Portishead-esque glittery Trip Hop. Bonnie Li is ready to release her second full-length album 'Le Bleu du Rouge', which translates to “The blue within the red” and the artist herself describes as “a stroll on the amorous shores“. Indie Exclusive Black LP.
L.A. tattoo artist/ex-con Jimmy Jayne (Devon Sawa) didn't think much of it when he gave a promotional lighter to the friendly hooker he'd chatted up at a bar. He'd have another think the next day, as he was rousted by LAPD cops Vargas (Luke Wilson) and Freeman (Bruce Willis)-because the woman and two colleagues were found murdered. Jimmy decides the only path to exoneration would come from working his own leads, in this taut thriller; Kat Foster, Sufe Bradshaw, Kenny Wormald co-star. 97 min. Widescreen; Soundtrack: English.
“Alpha Games was conceived on the road, playing in front of amazing crowds on our last tour and then brought to life with the fire and the frustrations of 2020,” says Kele Okereke onBlocParty’s first new album in seven years.
The firstBlocPartyalbum written and recorded as this four piece; adding the musicality of Justin Harris (bass) and the unbridled energy and power of Louise Bartle on the drums to capture the spark of their live shows and to deliver the most excitingBlocPartyalbum yet.
“We wanted to can what was happening at those massive gigs in 2019, to showcase what Louise can do, what Russell is capable of and most importantly the electricity coming off the audience. We knew that Nick & Adam were the right choice of producers to do that and the result feels like fire in a bottle.”
Produced by Nick Launay & Adam Greenspan (Nick Cave, Yeah Yeah Yeahs, IDLES), the 12 tracks of Alpha Games veer from the intense & confrontational (Traps, Day Drinker) to melodic and introspective (If We Get Caught, By Any Means Necessary) and marks a new and important chapter in one of music’s most important voices in Kele Okereke and important bands inBlocParty.
"On Silver color vinyl. Toro y Moi’s seventh studio album, Mahal, is the boldest and most fascinating journey yet from musical mastermind Chaz Bear. The record spans genre and sound—encompassing the shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock—taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino jeepney that adorns the album’s cover. But Mahal is also an unmistakably Toro y Moi experience, calling back to previous works while charting a new path forward in a way that only Bear can do.
Mahal is the latest in an accomplished career for Bear, who’s undoubtedly one of the decade’s most influential musicians. Since the release of the electronic pop landmark Causers of This in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his sound can be. But there’s little in Bear’s catalog that will prepare you for the deep-groove excursions on Mahal, his most eclectic record to date. The second the album begins we’re immediately transported into the passenger seat, jeep sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of Mahal’s 13 songs date back to the more explicitly rock-oriented What For? from 2015. Mahal was mostly completed last year in Bear’s Oakland studio with the involvement of a host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon Indian’s Alan Palomo and the Mattson 2.
“I wanted to make a record that featured more musicians on it than any other record of mine,” he explains. “To have them live on that record feels grounded, bringing a communal perspective to the table.” As a result, Mahal is lush and surprising at every turn, from the cool-handed “The Loop,” which recalls Sly and the Family Stones, to the elastic psych rock of “Foreplay” and the dizzying Mulatu Astatke- recalling of “Last Year.” Lyrically, the album zooms in on generational concerns, picking up where the Outer Peace standout “Freelance” effectively left off. Bear seems to be surveying the ways in which we connect with technology, media, each other, and what disappears as a result. Cuts like the squishy “Postman” and the “Magazine” take a deep dive into our relationship with media in a changing digital world. “It’s interesting to see how we adapt to this new age. We’re so connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s themes.
It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-featuring “Millennium,” a laid-back jam with tricky guitar licks about ringing in new times even when everything else seems upside down. “It’s about enjoying the new year, even when it’s been shitty,” Bear explains. “There’s nothing else to do.” Finding a sense of joy in the face of adversity is embedded in Mahal’s DNA, right down to the jeepney that literally and figuratively brings the music out into the community. “We know that touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the notion of us going out to the people and bringing the record to them.” And with the wide-open atmosphere of Mahal, Toro y Moi stands to connect with more listeners than ever before."
Love & Algorhythms is an interstellar synthesis of astral Soul, R&B, and sci-fi Funk. Working with producer Paul Butler (The Bees, Micheal Kiwanuka, Caroline Rose, Hurray for the Riff Raff), Seratones have taken the invitation to knock at the door of the cosmos. A.J. Haynes’s voice dances with soul-stirring devotion at the altar of Black Feminisms: weaving the words Toni Cade Bambara, Octavia Butler’s Xenogenesis multiverse, echoes of bell hooks, and Audre Lorde’s Power of the Erotic. With drummer Jesse Gabriel’s machine-like precision and the transcendental touches from guitarist Travis Stewart, the album oscillates between Alice Coltrane-inspired bliss & Giorgio Moroder’s ecstatic release. Each song hovers and pulsates in the wide, dark matter—constellations guiding a journey through the subtle body, the vast fullness of the human experience and the irresistible potential of liberation.
Grammy Award-winning duo Bob Moses release their highly anticipated third album, The Silence in Between. The Silence in Between marks the Los Angeles-based band’s first release since signing to Astralwerks in a unique global partnership with Domino Recording Co. Love Brand New is one of the most anthemic moments on The Silence in Between, “Love Brand New” finds Vancouver-bred musicians / producers Tom Howie and Jimmy Vallance tapping into their deep-rooted love for ’90s alt-rock and left-of-center dance music. Written with Michel Zitron and John Martin (a Swedish production duo known for their work with the likes of Avicii and Swedish House Mafia), the track encompasses a glorious collision of moody guitar tones, mercurial textures, and wildly propulsive beats as Bob Moses channel the dizzying euphoria of new romance.
As their boldest and most viscerally charged output to date, The Silence in Betweenamplifies the unbridled energy that’s made Bob Moses a repeat winner of Resident Advisor’s Best Live Act prize.
Willie is back with his 72ND solo studio album. A full-fledged album of new studio material produced with long-time collaborator Buddy Cannon, it will come on Willie’s 89th birthday and shows off just how prolific he continues to be as the album includes some of his finest songwriting and performances in years! The 14 tracks include 5 amazing new Willie Nelson/Buddy Cannon compositions, new songs from Chris Stapleton & Rodney Crowell (the first single “I’ll Love You Till The End Of Time”) and a cadre of top Nashville songwriters, plus a couple of plum covers by Leonard Cohen (“Tower Of Song”) and The Beatles (“With A Little Help From My Friends”) given expert interpretation by Willie.
Scheduled for release in April 2022, the 10-song sophomore full-length album showcases Kirke’s unselfconscious, country-twinged vocals alongside a brightly colored candy shop of glam-twang guitar riffs, department store tv commercial synth stylings, and swooping, lilting, unabashedly feminine background vocals. Lady For Sale channels a high-spirited insouciance that feels invigorating and familiar, decidedly more easy-going and fun-loving than what we’ve come to expect from its genre (and the world in general) in recent years. This is a party you’ll want to attend.
Norah Jones’ seminal debut album, Come Away With Me, became a global phenomenon reaching #1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 GRAMMY Awards with 8 wins including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. The remastered 20th Anniversary Edition captures the emergence of a singular talent on this now-classic album.
Trombone Shorty returns with Lifted, his first album in 5 years and the follow-up to his Blue Note debut Parking Lot Symphony, featuring special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr. An album that captures the energy of his legendary live shows, Lifted combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants & second lines) with modern lyrics, melody & beats to create something fresh & unique. Part Jimi Hendrix, part James Brown and all New Orleans, Troy “Trombone Shorty” Andrews is the bandleader and frontman of Trombone Shorty & Orleans Avenue, a hard-edged funk band that employs brass-band beats, rock dynamics & improvisation in a jazz tradition.
Weezer are proud to present one of their most exciting projects to date: SZNZ, a four EP song cycle of sorts. Already mythical across the internet, SZNZ will, fittingly, be released at the start of every season via Crush Music/Atlantic Records. Each EP will offer it's own palette of colors, creatures, and emotions to explore. They're also being created in real time, made in tandem with the season themselves; the band only just finished SZNZ: Spring, and have yet to begin work on SZNZ: Summer, SZNZ: Autumn, and SZNZ: Winter. Once they've all been released, however, the EPs will create an incredible collection of some of Weezer's best songs yet, which is no small feat for a band that never leaves the Zeitgeist.
True North, the fourth album from Caroline Spence, showcases Spence’s refusal to exalt or commodify her own experience, and instead reaches for a far more magnanimous exploration of grief, growth, and the endless complexities of human nature. The result is a body of work that affirms Spence as a truly incomparable songwriter, reinforcing her profound capacity to pack so much insight into songs that illuminate and mesmerize.
2022 release. Dawn FM is the fifth studio album by Canadian singer-songwriter The Weeknd. The album is narrated by Jim Carrey, and features guest appearances from Tyler, the Creator and Lil Wayne. The production was handled by The Weeknd himself alongside Oneohtrix Point Never-who produced the majority of the tracks-as well as Max Martin, Oscar Holter, Calvin Harris, and Swedish House Mafia, among others. The album serves as a follow-up to The Weeknd's fourth studio album, After Hours (2020).
Having relocated to his native home of Norway in 2020, indie-pop auteur Sondre Lerche returns with his boldest, most expansive work yet: Avatars of Love. Written and recorded within the span of a year, the album, as Lerche tells it, "burst into being during a very intense and hyperactive year of my life." Produced by Lerche and his team of longtime collaborators Matias Tellez (girlinred) and Kato Adland, it features guests AURORA, CHAI, Mary Lattimore, and Felicia Douglass of Dirty Projectors.
EPIC RECORDS FUTURE - I NEVER LIKED YOU - Future released his ninth studio album with features from Drake ("Wait for It" and "I'm On One"), Kanye West ("Keep It Burnin"), Kodak Black ("Voodoo") and more. With production from TM88, ATL Jacob, Southside and others, the album comes just two years after Future's platinum-selling album High Off Life and his Pluto x Baby Pluto collaborative album with Lil Uzi Vert.
Following 2019’s critically-acclaimed sophomore album, I Spent the Winter Writing Songs About Getting Better, Proper. is making their return with The Great American Novel.
“The Great American Novel is a concept album about how Black genius, specifically my own, goes ignored, is relentlessly contested, or just gets completely snuffed out before it can flourish,” says vocalist Erik Garlington (he/him). “This record is a concept album that’s meant to read like a book; every song is a chapter following the protagonist through their 20s. Imagine a queer, Black Holden Caufield-type coming up in the 2010s.”
The result is an album that is both lyrically and musically heavy, the former something fans have come to expect from Garlington’s unflinchingly honest lyrical content, but the latter something that’s refreshingly new. Channeling the heavier music he listened to during his adolescence—from post-hardcore outfit At the Drive-In to progressive metal band System of a Down—Garlington and the rest of Proper.—bassist Natasha Johnson (she/her) and drummer Elijah Watson (he/they)—push themselves in ways they haven’t before, culminating in an ambitious project that showcases the new sonic territory the band is heading in.
Produced and recorded by Bartees Strange and mixed and mastered by Brian DiMeglio, The Great American Novel clocks in at fifteen tracks including “Huerta,” which explores Garlington’s Mexican heritage, and “Red, White and Blue,” a commentary on the imbalance between the United States’ everyday citizens and elite class. The songs reflect the overall tone of The Great American Novel:abrasive, powerful, and beautifully poignant.
“At the end of the day, what I wanted to do with this record is take Proper. in a direction that would surprise people on first listen, but end up making complete sense on the second or third listen. I think a lot of bands tend to go more pop but I wanted to make something both challenging and undeniably catchy,” Garlington said. “It all goes back to Black genius and how it’s ingested by the predominantly cishet, white male crowd. If they’re going to be a voyeur to the Black experience, I wanted to strip away all the cheeky song titles, lyrical inside jokes, and optimistic singalongs. I want them to hear this record and learn about our identity crises, our aimlessness, how many friends and family we know that are dead or in jail by 25. How, at eight we were told we were gifted but by 11 we were told we’re dangerous.”
13x Platinum, 2x GRAMMY Award-nominated, singer & songwriter Kehlani has announced her highly anticipated third album blue water road. "blue water road is a destination in my mind," Kehlani explains. "I'm giving everyone access. It's an emotional journey, a sexual journey, and a spiritual journey. To me, the album is like a glass house. It's light, transparent, and the sun is shining right through it."
Hailing from Bozeman, MT, Kitchen Dwellers embody the spirit and soul of their home with a sonic palette as expansive as Montana’s vistas. The quartet—Shawn Swain [Mandolin], Torrin Daniels [banjo], Joe Funk [upright bass], and Max Davies [acoustic guitar]—twist bluegrass, folk, and rock through a kaleidoscope of homegrown stories, rich mythology, American west wanderlust, and psychedelic hues.
After amassing 5 million-plus streams, selling out shows, and receiving acclaim from Huffington Post, Relix, American Songwriter, and more, the group brings audiences back to Big Sky Country on their third full-length album, Wise River, working with Cory Wong of Vulfpeck as producer.
In the end, Kitchen Dwellers share timeless American stories from the heart of one of its greatest treasures.
“When you listen to Wise River, I hope you hear some of the original qualities that made us who we are, but you also recognize aspects that are new and adventurous,” Max leaves off. “I hope you hear what it sounds like when the four of us are at home and have the space to create something together. This album is really how we sound as a band.”
Originally released in 1988, Suicidal Tendencies' third LP, How Will I Laugh Tomorrow When I Can't Even Smile Today, was a major turning point for Mike Muir and his Venice, CA crew. Led by Muir's sardonic sneer, How Will I Laugh.... grinds with beyond-punk prowess and biting social commentary that pushed Suicidal from Pendelton n' bandana'd clad, Pepsi-chuggin' hardcore heroes to flexible.skateboard-obsessed thrashers who would give legends like Anthrax, Slayer and Metallica a run for their monies. "Trip At The Brain'' kicks things open with the firepower ST was already known for with the likes of "Pledge Your Allegiance '' and the title track proving that Muir and crew were a force unto themselves - which continues to this day. Long out of print on vinyl in the US, HWILTWICEST is back with the unforgettable anthems, speed and street-smarts that have made Suicidal Tendencies a competition-crushing force in their own right.
Hot on the heels of her recent 2022 Academy of Country Music Awards win for Entertainer of the Year, Miranda Lambert is set to release "Palomino," her ninth solo album, on April 29, 2022.
During a recent interview with Billboard, Lambert gave an update on the progress of her much-anticipated upcoming album, which was mostly penned at her Tennessee farm.
Lambert -- who is now the most-awarded artist in ACM history -- has already released the Jesse Frasure co-written single "If I Was A Cowboy" and the just-premiered, low-key, 70s rock-tinged "Strange" (featuring Dick and Hemby as writers) from the new project. "Palomino"'s other reported influences include acts like Little Feat, Bruce Hornsby, the Range and Emmylou Harris.
The album includes a cover of Mick Jagger's 1993 solo album title single "Wandering Spirit," plus an album track entitled "Music City Queen," which features backing vocals from pop icons the B-52s.
Her first single off the project, "If I Was A Cowboy," is just a "sneak peek" for what's on the horizon for Lambert. "I've got some stuff coming out that is from a really creative time," she said.
Area 52 was produced by the legendary Peter Asher and contains nine of Rod and Gab's favorite songs from their own catalogue re-arranged and re-configured for a 13-piece Cuban orchestra comprised of some of Havana's finest young players, collectively known as C.U.B.A. On vinyl for the first time in the US and pressed on red & blue splatter vinyl.
After releasing Mazes, one of Sacred Bones’ best selling albums of 2011, and the accompanying limited edition LP of remixes, Mazes Remixed, Moon Duo are set to release Circles with Sacred Bones this fall. The band will also set off on a worldwide tour in support of the album, after living and playing in Europe for most of this year.
Moon Duo’s new material was birthed from a long period of winter isolation in the Rocky Mountains. The album was primarily recorded at home in Blue River, Colorado in February 2012, with additional recording taking place at Lucky Cat Recordings in San Francisco in April. Like it’s predecessor, the album was mixed at Kaiku Studios in Berlin. Inspiration for many of the songs’ themes, as well as the album title, came from Ralph Waldo Emerson’s 1841 essay “Circles” on the symbol and nature of “the flying Perfect.” From the opening lines: “The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary figure is repeated without end.” And so it goes. Rust never sleeps.
Vinyl LP pressing. 2022 release. Eli 'Paperboy' Reed pays homage to country legend Merle Haggard by putting a soulful spin on some classic tunes. Recorded in Brooklyn with longtime collaborator Vince Chiarito (Black Pumas, Charles Bradley), Reed taps into all the heartache of Haggard's iconic catalog and channels it into explosive, high-octane performances that blur the lines of genre, geography, and race to reveal the common, distinctly American threads tying them all together.
On their debut for Western Vinyl, recording engineer and multi-instrumentalist Nate Mendelsohn and his band use lyrical maximalism for the powers of good. Where Market’s previous home recorded releases shifted genre restlessly, on The Consistent Brutal Bullshit Gong Mendelsohn took a core band of longtime collaborators to a house in rural Massachusetts where they carved out space for his words to speak through with humor and intensity.
Though he comes from a background in experimental music, Mendelsohn’s ear for pop has prevailed. Certain moments on Bullshit Gong reveal his stranger side, as on the thundering bridge of “Scar,” which sounds like a more unhinged Parquet Courts, or the angular “I Would Do That,” which takes cues from Cate Le Bon. On the whole, though, this band of close friends insists on directness, their arrangements clear despite the intricacies. Guitars and synthesizers tangle fluidly atop the rhythm section’s tight bedrock, evoking the tenderness and backbeat-centric qualities of Elliott Smith or Big Thief.
After college, where he met most of the members of Market, Mendelsohn became an engineer and producer at the Brooklyn studio Figure 8 Recording. Through that community he’s recorded artists like Frankie Cosmos and Wendy Eisenberg, and played with Yaeji, Vagabon, Katie Von Schleicher (who co-produced Bullshit Gong with him), and Sam Evian, who mixed the album.
Creating intimacy out of manic self-reflection requires a delicate balancing act, one Mendelsohn tackles with abandon. His words never skew too poetic or grandiose, and when he invokes the ugly it’s met with a sonic tonality that sets him right again. In tender moments, his voice is often flanked by bandmates Natasha Thweatt or Von Schleicher, who help skew his words toward the universal. Still, Bullshit Gong is an obsessive look inward, one in which Mendelsohn simply asks himself if he is good to those he loves. It’s an act of trust between the artist and the imagined listener he takes with him.
Presented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles.
Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.
When undercover agents get in trouble, it's seasoned FBI operative Travis Block's (Liam Neeson) job to get them out of it. But his latest assignment-involving an agent (Taylor John Smith) ready to divulge damning information about the Bureau to a journalist (Emmy Raver-Lampman)-puts Block's family in danger as he learns his old friend and boss (Aidan Quinn) is behind a murderous conspiracy. With Claire van der Boom, Yael Stone. 105 min. Widescreen; Soundtracks: English DTS HD 5.1 Master Audio, Dolby Digital 5.1, Dolby Digital stereo; Subtitles: English (SDH), Spanish; behind-the-scenes footage; featurette. Two-disc set.
Michael B Jordan stars in the explosive origin story of Tom Clancy’s action hero John Kelly, an elite Navy SEAL whose life is changed forever after uncovering an international conspiracy. Torn between personal honor and loyalty to his country, he fight his enemies without remorse if he hopes to avert disaster. Directed by Stefano Sollima (SICARIO: DAY OF THE SOLDADO) and adapted by Taylor Sheridan (YELLOWSTONE) and Will Staples (SHOOTER) from the bestselling novel, WITHOUT REMORSE is a must-see thriller.
WE is the new album from Canadian rock band Arcade Fire. This is the sixth Arcade Fire studio album, and is made up of seven songs that speak to this moment with unique directness. Written, recorded, and released during a critical historical juncture, they are divided into two distinct sides, “I” and “WE.” If the “I” side of the record evokes and embodies our holed-up anxiety and lack of physical connection, the “WE” side captures the excitement of new possibilities and the elevating thrill of committing to one another socially and personally. Produced by Nigel Godrich, Win Butler & Régine Chassagne, WE is a 40 minute epic as much about the forces that threaten to pull us away from the people we love, as it is inspired by the urgent need to overcome them.
The Gods We Can Touch is an elegant and celestial but provocative album about shame, desire and morality, all seen through the narrative prism of Greek mythology. In each of the album's fifteen songs we meet a different god. Featuring lead single "Cure For Me," the album is ultimately "a celebration of being human, and what makes us human."
The multi-instrumentalist duo that comprises Hermitude - Luke Dubber (aka Luke Dubs) and Angus Stuart (aka El Gusto) holed up together in Angus' home with a pared-back music setup, they began a process that was all about taking back control over how and why they make music as Hermitude. The duo recorded vocal sessions in-person to create a more intimate experience. You can hear it in the way the drums coil themselves around the closely recorded vocals of "When U Feel Like This (feat. The Jungle Giants)," or the confidence in "Promises (feat. Andie)" that allows her voice to soar into the upper octaves easily. This control over their process led to a loosening of their creative inhibitions. A year and a half later, Mirror Mountain was finished. The album acts as a reawakening, a place to draw strength as time goes by. "The production quality & mixing all around is super clean and polished, it's delectable to the ears." - Banger Sound
From the anthemic “Virginia (Wind In The Night),” an ode to Russell’s native state to which he’s recently relocated (“If it was solely up to me, I’d live her for the rest of my life,” he says), to the minimal but momentous “Tiebreaker,” Every Shade of Blue showcases The Head and the Heart’s unique ability to dip its toes into a variety of musical genres. It’s the band’s knack for supreme melody, however, that remains a constant. And it’s why many of the songs on Every Shade of Blue, including the slow-rolling title track, “Every Shade of Blue,” which Russell says has “a Sinatra vibe,” are undeniable pop-radio missiles. The band’s ability to create music that appeals to listeners’ common denominator, Russell says, is something he not only won’t shy away from but is immensely proud of.
Ukulele Songs comprises a fine mixture of original material penned by Vedder that he initially performed live, alongside vintage classics and standards. A recast, uke-driven version of "Can't Keep," which originally appeared as the opening track on Pearl Jam's hard-charging November 2002 album Riot Act, opens the proceedings, while newer-bred original songs like the resigned lament of "Sleeping By Myself," the charming love orbit of "Satellite," the hopeful brightness of "Light Today," and the instrumental interlude "Waving Palms" all set the table for the 35-minute album.
Guest vocalists appear on a pair of key Ukulele tracks, both of them fine covers of notable standards. First, Glen Hansard (The Frames, Once) adds his Irish folk DNA to "Sleepless Nights," which was written by Felice and Boudreaux Bryant and remade by The Everly Brothers in 1960, in addition to later being covered by the likes of Emmylou Harris, Patty Loveless, and Elvis Costello.
Second, Cat Power lends her passionate tone to "Tonight You Belong To Me," a jazz standard written in 1926 by lyricist Billy Rose and composer Lee David. This track has also been subsequently covered by the likes of Frankie Laine, Patience and Prudence, and Dottie West. Versions of "You Belong To Me" were also recently featured in the acclaimed 2019 film drama Blackbird and in an episode of the 2020 HBO horror-drama series Lovecraft Country.
The LP's other noteworthy covers include stirring takes on Billy Rose and Edward Eliscu's "More Than You Know," Michael Edwards and Bud Green's "Once In A While," and the album-closing reading of Fabian Andre, Wilbur Schwandt, and Gus Kahn's "Dream A Little Dream."
Produced by Eddie Vedder and Adam Kasper (Foo Fighters, Soundgarden), Ukulele Songs peaked at No. 4 on the U.S. Billboard 200, hit No. 2 on the U.S. Top Rock Albums on Billboard, and achieved Gold status in Canada.
The 2 CD companion piece to Sheryl Crow's forthcoming feature documentary, Sheryl, featuring 35 songs spanning 3 decades of music from the 9-time GRAMMY Award winner. 3 new songs are included with her hits "If It Makes You Happy," "Soak Up the Sun," "All I Wanna Do," "My Favorite Mistake," "Redemption Day," and many more! Sheryl Crow has sold more than 35 million albums worldwide.
SUNFLOWER BEAN / HEADFUL OF SUGAR - Marked by two vocalists who often take turns within a song, Sunflower Bean is an indie rock trio out of NYC. Twentytwo in Blue, the band's sophomore album (co-produced by Unknown Mortal Orchestra's Jacob Portrait and Matt Molnar, formerly of Friends) debuted on the UK's TOP 40 Album Charts and on Billboard's Independent Album Charts. In early 2019, the band released a new EP, 'King Of The Dudes' which featured BBC Radio 1"s Hottest Record In The World, 'Come For Me'. They recorded the EP in LA during the summer of 2018 with producer Justin Raisen (Charli XCX, Angel Olsen, Sky Ferreira). 'Come For Me' was the band's first single to chart in the US on Billboard's Triple A Rock Chart. Since then the band has performed at Bernie Sanders' 2020 rally, alongside the Strokes and their 2 subsequent singles 'Moment in the Sun' and 'Baby Don't Cry' were also BBC Radio 1"s hottest record. Julia Cumming appeared on Yves Tumor's 'Strawberry Privilege,' and the band toured extensively with the likes of Beck, Cage the Elephant, Interpol, Courtney Barnett, and more, while also playing countless festivals internationally. The band describes "Headful of Sugar is an album about outsiders, searching for meaning in the desert of modern life, disillusioned but hopeful. All of the opulence we're surrounded by is just sugar, connection to others is the real sustenance."
Released in 1965 My Generation was the debut album by The Who. The album peaked at #5 in the UK & launched the band into worldwide acclaim. Containing “My Generation”, “The Kids are Alright” & “The Ox” mastered by long time Who engineer Jon Astley from the original tapes. Packaged in original sleeve with obi & certificate of authenticity, this black vinyl version is engineered by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut.
A Quick One was released in 1966, containing experimental music Suite (a nod to Rock Operas that were to follow). The album contains “Boris the Spider”, “Don’t Look Away” & has been mastered by long time Who engineer Jon Astley from the original tapes. Packaged in original sleeve with obi & certificate of authenticity, this black vinyl version is engineered by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut.
AWOLNATION's upcoming album My Echo, My Shadow, My Covers and Me, set for a May 6, 2022, global release, is a fiercely collaborative and celebratory project. It's an eclectic collection of masterfully crafted and carefully curated covers, with each track featuring at least one acclaimed musical artist. It includes epic re-imaginings of classics like "Wind of Change" by the Scorpions, "Take a Chance on Me" by Abba, and "Beds are Burning" by Midnight Oil; and features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson & more. Available on one-of-a kind, recycled colored vinyl, mystery colored cassette and CD.
Grammy-winning hard rock band Halestorm announce Back From The Dead, their fifth studio album due out May 6, 2022, and follow-up to 2018’s Vicious. Produced by Nick Raskulinecz (Foo Fighters, Mastodon, Alice in Chains) with co-production by Scott Stevens (Shinedown, Daughtry, New Year’s Day), Back From The Dead quickly evolved from songwriting exercises into a matter of survival for the band, taking the listener through ‘a journey of navigating mental health, debauchery, survival, redemption, and rediscovery, while still maintaining faith in humanity’ says frontwoman Lzzy Hale. The album features the title track which earned the band their sixth #1 at Rock Radio, and current single, “The Steeple.” Halestorm has grown from a childhood dream of siblings Lzzy and Arejay Hale into one of the most celebrated rock bands of the last two decades. Halestorm’s music has surpassed a billion streams worldwide. Fronted by the incomparable Lzzy Hale with drummer Arejay Hale, guitarist Joe Hottinger, and bass player Josh Smith, Halestorm has earned a reputation as a powerful live music force, headlining sold-out shows and topping festival bills around the world.
!!! present Let It Be Blue ' spanning 11 tracks, the band's production forward album incorporates a multitude of styles and genres, easily becoming their most ecclectic release yet. The band have taken a new approach to recording over the past two years, primarily working in the box to start, as opposed to their usual studio focused approach. The result, a prominent electronic / dance-leaning edge prevades the band's familiar sonic motiffs and songwriting, pushing the towards new dynamic limits for the New York mainstays.
Limited silver colored vinyl LP pressing. Every few years, musicians arrive on the scene with an undeniably fresh approach to a tried-and-true genre. Showcasing this with unparalleled proficiency is the acclaimed Los Angeles-based Americana band The Americans. Upon hearing their sophomore studio effort Stand True it's evident why revered producer T Bone Burnett raved, calling them, "genius twenty-first century musicians that are reinventing American heritage music for this century. And it sounds even better this century." Following their 2017 debut album, I'll Be Yours, The Americans took a step back, regained focus, and went into the studio at Big Bad Sound in Los Angeles to carve out an album of material that "is more our own than ever before," the band confirms. The overall touchstone of Stand True, which the band self-produced, is devotion in the face of loss.
Featuring a diverse and spectacular cast of collaborators, "The Atlas Underground Flood" is a treasure trove of creativity, spanning many genres. The album is the surprise sister record released on the heels of "The Atlas Underground Fire”. “Fire” and “Flood” are a continuation of the Rage Against The Machine guitarist’s groundbreaking 2018 album, “The Atlas Underground.” Morello’s insane guitar playing is on full display taking the instrument into the future and forging an alternative/rock/EDM masterpiece with heavy metal legends, punk icons and cutting edge firebrands.
Midland likes their music straight-up. Hardcore country, the kind you find in forgotten bars in Arizona, New Mexico, Texas, wherever the neon's buzzing, but not quite dead. The Grammy-nominated trio plots a resurgence of their thick harmonies, tart lyrics and steel guitar with The Last Resort: Greetings From. Unfiltered, they want their country 120 proof. Whether it's a cheating song, a heartbreak ballad or a shoot-out-the-lights romper, they savor the emotions with a gusto unseen for decades.
Transparent Orange Vinyl. Australian four-piece, Stand Atlantic are back with their third album, F.E.A.R., which includes hit single "deathwish ft. Nothing, nowhere." and "pity party ft. Royal & The Serpent." F.E.A.R. was born out of chaos, frustration, and uncertainty. This album is for those who don't fit the narrative, who see the cracks and exist in-between. It serves as a reminder that when you feel expectations are walking you down the wrong path, F* Everything and Run.
Canadian rockers Three Days Grace release their seventh studio album, Explosions via RCA Records. THREE DAYS GRACE singer Matt Walst states: "In these crazy and divided times, everyone needs something to take the edge off."
2022 release. Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. In 2021, it's time for a reintroduction. Newly signed to independent label Chrysalis Records, Sandé has freed herself from the expectations of others in order to make an album of expansive creativity, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. Something of an artistic rebirth, it draws on old familiarities and brave beginnings, uniting fans old and new in her endless drive to use music as a tool for inspirational lift.
Neil Young / Royce Hall 1971 - A live solo acoustic show recorded at UCLA's Royce Hall on January 30 1971. - Recorded on January 30, 1971, this concert was performed at the beautiful Royce Hall on the campus of UCLA in Los Angeles near the end of Neil's 1971 solo tour. This 16-track acoustic set features Neil on guitar, harmonica, piano and vocals. The album is produced and mixed by The Volume Dealers (Neil Young and Niko Bolas) and tracks include "Journey Through The Past", "Ohio", Don't Let It Bring You Down", and "Love In Mind".
Neil Young - DOROTHY CHANDLER PAVILION 1971 - A live solo acoustic show recorded at Los Angeles Dorothy Chandler Pavilion on February 1 1971. A famous bootleg titled "I'm happy that y'all came down". A solo acoustic show recorded on February 1st, 1971 - with Neil on vocals, guitar, piano and harmonica. This was the last night of Neil's 1971 solo tour, that also featured the shows have been released as the much-loved albums Massey Hall and Young Shakespeare. The show was marked by the first time Neil played harmonica live. This album features 15 songs including "On The Way Home", "Heart of Gold", "The Needle And The Damage Done" and "A Man Needs A Maid"
Neil Young / Citizen Kane Jr. Blues 1974 (Live at The Bottom Line) - A fan favorite bootleg that is usually called "Live at The Bottom Line". A surprise solo acoustic performance following a Ry Cooder show on May 16, 1974. Notably features songs that would be included on "On The Beach". The album title comes from Neil introducing the opening song with that title; a song that later became "Push It Over The End".
Pink Mountaintops’ first new album in eight years features 12 songs sparked from Stephen McBean's magpie-like curiosity for a wild expanse of cultural artifacts: David Cronenberg, Disney Read-Along Records from the '70s, early Pink Floyd, mid-career Gary Numan, John Carpenter movies, Ornette Coleman live videos. Featuring counterculture icons like Steven McDonald (Redd Kross) and Dale Crover (Melvins), Peacock Pools alchemize those obsessions into a body of work with its own enchanting power.
Miloe, a.k.a. Bobby Kabeya, is a 20-year-old Minneapolis artist, by way of the Democratic Republic of Congo, who released his incredible Greenhouse EP in 2020. Kabeya moved to the U.S. with his family at the age of 8 to reunite with his father, a journalist who was granted asylum three years prior. Greenhouse is an exhilaratingly energetic and youthful homage to summer and the weather patterns of his childhood, paired with lyrics of teenage melodrama and idealism. Indie Exclusive 10” LP.
The music of Queen and the Velvet Underground instilled a sense of destiny in 3 teenagers living in 1970s Norway. That dream led to A-ha: featuring keyboardist Magne Furuholmen, vocalist Morten Harket, and guitarist Pål Waktaar-Savoy. Take on Me was one of the biggest pop songs ever made and made these teens global superstars. 36 years and 50 million albums later, a-ha still sells out arenas worldwide - but can they mend broken friendships to get on stage and create new music still? Everybody remembers the iconic video, but most Americans don't know that there have been 10 studio albums and 5 live albums since their debut. a-ha -The Movie follows the band over their entire career, telling the full story of how three young men followed their impossible dream of becoming worldwide pop stars and what happened after that. a-ha still creates magic on stage with their melancholic and timeless music. They tour the world but drive in separate cars and stay apart backstage. They only meet on stage, while doing the one thing they love. The film closely portrays the challenging creative and personal dynamics of a group of three strong individuals. A story of great music, big ambitions, broken friendship - and maybe forgiveness.
Still struggling with his physical and emotional battle scars, but desperate for reinstatement, ex-Army Ranger Jackson Briggs (Channing Tatum, who co-directed) would do anything to prove himself. So, he agreed to drive another troubled veteran-Belgian Malinois service dog Lulu-from Oregon to Arizona for the funeral of her handler. The mutual wariness gives way to a warm bond during this comically calamitous road trip. Ethan Suplee, Q'orianka Kilcher, Emmy Raver-Lampman, Bill Burr co-star. 101 min. Widescreen; Soundtrack: English.
This is the indie exclusive White LP - limited to 4982 pieces.
As they've done their entire career, The Black Keys' Dan Auerbach and Patrick Carney wrote all of the material for their new album,Dropout Boogie, in the studio, and the album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio, basements. After hashing out initial ideas at Auerbach's Easy Eye Sound studio in Nashville, the duo welcomed new collaborators Billy F. Gibbons, Greg Cartwright, and Angelo Petraglia to the sessions, marking the first time they've invited multiple new contributors to work simultaneously on one of their own albums.
Florence + The Machine releases 5th studio album, Dance Fever. Written & produced through the haze of two lockdowns, in London & NY with producers Jack Antonoff & Glass Animals’ Dave Bayley. Dance Fever sees Florence at the peak of her powers, coming into a fully realized self-knowledge, poking sly fun at her own self-created persona, playing with ideas of identity, masculine & feminine, redemptive, celebratory, stepping into her place in the iconic pantheon. Indie Grey 2LP. 4th side etching.
Best New Artist GRAMMY nominee and critically acclaimed band Tank and The Bangas return with their third studio album, Red Balloon. Red Balloon was born out of a pandemic-ordered break from the band’s rigorous touring schedule. The hiatus gave the band space to grow, allowing them to reunite as a more unified group. This new work pushes the band to a new level, shedding light on their unique observations and reflecting on the ills of America while also celebrating the beauty of Black life.
A legendary event in the incredible 60-year history of the Rolling Stones is available for the first time in-full. ‘Live At The El Mocambo’ marks the first official appearance of the group’s two famous secret concerts at the 300-capacity Toronto club in March 1977. It features the Stones’ full set from the March 5 show, plus three bonus tracks from the March 4 gig, newly mixed by Bob Clearmountain. Now available on 4LP black vinyl housed in a die cut slipcase with etching.
So Far So Good is the fourth studio album from Grammy award-winning and Billboard Chart topping artist/producer duo The Chainsmokers. The 13-track full-length album was written across Hawaii, Joshua Tree, New York City and LA from 2020 to 2021. It was written and produced by Alex Pall and Drew Taggart with additional contributions from frequent collaborators Emily Warren, Ian Kirkpatrick, and Whethan.
Lyle Lovett returns with his first new album in over 10 years,“12th of June”, due out on Verve Records May 13th, 2022. The album is a fantastic and eclectic collection of new original songs and beloved interpretations that will please existing fans as well as invite new ones. Immaculately recorded, it highlights the dynamics of Lyle and his Large Band– and their singular ability to shift from one genre to the next with uncanny grace and ability. From beautiful acoustic ballads to swinging big band numbers, this record will remind listeners why Lyle is national musical treasure.
With its latest album, Fortune Favors The Bold, Russell County, Virginia-based 49 Winchesteris ready and roaring to break onto the national scene with its unique brand of tear-in-your-beer alt-country, sticky barroom floor rock-n-roll, and high-octane Appalachian folk.
Fortune Favors The Boldis not only a record that showcases the current state of 49 Winchester, it’s a melodic stake in the ground of how this group is constantly evolving and taking shape, sonically and lyrically. But, it’s also about looking into the rearview mirror with a genuine appreciation for where you came from and what you’re made of. Those salt-of-the-earth traits in your blood and character that define what it actually takes to climb that damn mountain of dreams. At its essence, Fortune Favors The Boldis about going against all odds to bring your art into fruition and into the world - come hell or high water.
Debut Album Solidifies Mallrat's Reputation as a Master of Clever, Timeless Pop
Available On Limited Edition [COLOR] Vinyl + CD Mallrat's prized pop songwriting has become a beacon the music industry eagerly follows, and on her debut album Butterfly Blue, she embodies the spirit of it's titular creature - but without the delicacy that keeps you at a distance. Over a dozen clever and open-hearted tracks, Mallrat - aka Grace Shaw - draws you in close and shows you the world through her wide, hopeful eyes.
A collaboration between Mike Patton (Faith No More, Mr. Bungle, Fantomas) and The Dillinger Escape Plan, this four song EP is a wildly progressive amalgam of musical styles that combines the feral intensity of hardcore, the technical precision of metal, mind-boggling tempo changes and sonic textures usually associated only with experimental electronic music. Irony Is A Dead Scene pushes the limits of speed, composition and complexity. Perhaps the most extraordinary track is a cover of Aphex Twin’s “Come To Daddy” which brilliantly and significantly serves to blur the distinction between “electronic” and “live” music. Reissued on vinyl to commemorate the 20th anniversary of the original release.
The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him. Produced by Sam Cohen (who also worked on Morby's Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby's live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we're still here? This is a photograph of that sense of yearning.
Record-breaking, award-winning, GRAMMY-nominated RAMMSTEIN – one of rock’s most individual and successful names – release a special, limited edition 7" vinyl of their single "Zick Zack" and "Zick Zack (RMX by Boys Noize)."
TOMORROW X TOGETHER (aka TXT) is back with a brand new release. minisode 2: Thursday’s Child is available in 3 versions: HATE, END & MESS. All versions include a CD, 64-page Photo Book, Lyric Card Set w/Envelope, Stickers (6 pieces), Logo Paper Toy Set, Poster, Post Card (random 1 of 5 of each version), Lenticular Card (random 1 of 5 of each version) and Photo Card (random 1 of 5 of each version). Box dimensions: 150 x 210 x 22 (mm).
White Vinyl. Set for release on May 13th via Communion Records, the album sees the much-loved folk-rock duo - made up of Andrew Davie and Kevin Jones - once again team up with producer Ian Grimble on what is one of their most personal records to date.Davie says: "Blue Hours is a kind of imaginary space you get into at night, a place where you process difficult things or where you try to figure everything out." Themes on the album include both self-reflection and mental health after both struggled with the latter in recent years. "It's the main over-arching theme with this record," Davie explains. The group, who have worked with mental health charity CALM (Campaign Against Living Miserably) previously added: "It probably speaks to our struggles and hopefully many other people's too. Men are not very good at talking. We're not really taught how to - men have no idea how to talk about this stuff, certainly to each other."The pair describe the conceptual blue hours headspace that gives the new album it's title as being "somewhere between a hotel, a mental health hospital, a bar that stays open later than anywhere else, a paradise, a dream, a nightmare and an endless sea of corridors and staircases leading you to rooms that represent memories - good, bad, happy or difficult." Despite the album's challenging themes, it's an album drenched in hope too. "We wanted this to be a celebration of music," Jones continues. "I think that informed some of the bolder decision making on this record. At a time when music was so distant, it felt important to make an album that sounded hopeful, celebratory, ambitious and beautiful in spite of the heavy subject matter in some of the songs." Jones adds: "It was almost like we needed to shout louder than before because we felt that there were more barriers between the audience and us. We needed something to transcend that."
Comfort To Me is the second album from Amyl and The Sniffers, somehow both heavier and more awesome than their debut. MOJO Magazine raved: "Skin-shedding, lethal, self-sufficient, cool: no wonder Amy Taylor digs snakes. With Comfort To Me, she proves she can be whoever she wants, while the Sniffers confound preconceptions of how great a rude and righteous rock’n’roll band can still be." This expanded edition features a bonus LP recorded live on a dock in Melbourne. Pressed on clear smoke vinyl.
Limited 180gm clear red colored vinyl LP pressing. Two decades into their venerable careers, Baltimore death metal savants Misery Index are back with their new record, Complete Control. Their seventh studio album and Century Media debut is a riff-driven assault that captures the tension of the modern condition and channels it into 9 songs of ripping end-times death metal. Spewing with Orwellian invective and razor-sharp songwriting, Complete Control is a much-needed hammer to the face; a wake-up call for the disaffected and dispossessed. The album was mixed by Will Putney (Fit For An Autopsy, Thy Art Is Murder, Body Count), mastered by Jens Bogren / Fascination Street studios (Kreator, Opeth, Arch Enemy) and features uncanny artwork by visual artist Matt Lombard.
Apollo’s long-awaited debut album IVORY brings him to another level in his career. Crossing genre lines as well as language barriers, the full-length showcases even greater musical diversity from the already boundless creator. Despite being at this pivotal moment in his career, Omar feels like he's just getting started. The artist who once called himself “just a kid from Indiana” is breaking new ground, abandoning all comfort zones, and never looking back.
Forrest Gump: The Soundtrack is based on the award-winning, critically acclaimed film, Forrest Gump. Originally released in 1994, the movie interweaves itself in time through the eyes of its title character, Forrest Gump, using music as a critical tool to tell the now classic story. Featuring 31 iconic pop hits including Elvis Presley’s “Hound Dog,” “California Dreamin’” by The Mamas & The Papas, and so many others, it’s no surprise this chart-topping album has gone on to become one of the greatest soundtrack albums of all time.
Four-time Grammy® Award winner Delbert McClinton celebrates his coming-of-age musical heroes and influences with his 27th studio album, Outdated Emotion (Hot Shot Records/Thirty Tigers), coming on May 13, 2022. The 16-track collection features Hank Williams, Jimmy Reed, Ray Charles, and Little Richard standards, as well as five original songs written or co-written by McClinton.
Delbert has spent much of the COVID isolation in Kevin McKendree’s Rock House Studio in Nashville. This new album brings his music back to where it started. Outdated Emotion pays homage to McClinton’s earliest influences, Hank Williams and Jimmy Reed with a salute to Ray Charles and Little Richard, as well as five of his own compositions, influenced by the sounds of his heroes. Along with Kevin and his son, musical prodigy Yates McKendree, Delbert has created the album he has often dreamed of. “I’ve always wanted to do an album of the songs that influenced me the most. Hank Williams songs, Jimmy Reed songs, and songs that I love. And this was the perfect time to do it. It’s important music from another time. It’s music that people need to hear again, or for the first time. Nobody knows about them. Or has forgotten about them. Or was never turned on to them. There is a whole generation, maybe two generations now, who don’t know this music. My whole idea here was to show them how it was and how we got here. Hank Williams, Jimmy Reed, Lloyd Price, Ray Charles. These songs take me to my youth. They are good if not better now than they were then, and they were great then. They are songs people should just get to hear.”
Rolling Stone calls Delbert McClinton the “Godfather of Americana Music.” In a career that has spanned more than six decades, his honkytonk blues sound and signature smooth voice have provided a soundtrack for American music history. He is a four-time Grammy winner (Traditional Blues Album in 2020 for Tall, Dark, and Handsome; Contemporary Blues Album in 2006 for Cost of Living and 2002 for Nothing Personal; and Rock Performance by a Duo or Group with Vocal in 1992 for "Good Man, Good Woman"), and received the Americana Lifetime Achievement Award in 2019. Growing up in Lubbock and Fort Worth, Texas allowed Delbert McClinton an early appreciation for the best of 20th century American music, with the songs of postwar America, honkytonk country, and southern blues. Delbert remembers where he was when he heard his first Hank Williams song. And he knew he wanted to play music for a living when he first heard Jimmy Reed. Leading the house band in the desegregated roadhouses on the outskirts of Fort Worth, Delbert backed Jimmy Reed, Muddy Waters, Bo Diddley and other blues legends, while making a name for himself as a regional player in the birth of rock and roll, opening shows for Little Richard, Jerry Lee Lewis and other pioneers of the new sound; and even headlining shows in Great Britain with Bruce Channel (“Hey Baby”), with a little-known Liverpool quartet. The Beatles as the opening act. In the early 1970s, as his “Two More Bottles of Wine” reflects, Delbert “went out west with a burning desire to set the west coast on fire….” He teamed up with Glen Clark for the Delbert and Glen sessions (Clean Records) and released two critically acclaimed albums before returning to Texas as the progressive country/blues awakening movement was starting to happen in Austin. Hippies and cowboys crowded together on sawdust dance floors watching history in the making as Delbert, Doug Sahm, Jimmie and Stevie Ray Vaughan, Freda and the Firedogs and Asleep at the Wheel set the stage for a new sound coming out of Texas. There, Delbert began to develop his signature sound, mixed rocking blues and hardcore country to create the unique style that has served him well through the last half century. Further solidifying his sound, Delbert went into the famed Muscle Shoals, Alabama studio and called on the Muscle Shoals Horns, who had recorded with everyone from Jimi Hendrix to Elton John. They joined his longtime band to create his next album. That signature horn sound has remained a mainstay in Delbert’s music. When Texas became the rage in New York City, a music venue called the Lone Star Café served as capital of Texas chic. Austin musician Cleve Hatttersley was the manager of the Lone Star. He said, “Everyone who was anyone came through the door on any given night: Mick Jagger, Johnny Paycheck, Tommy Tune. Jerry Garcia… and Delbert was the biggest star of the bunch. Delbert is the absolute heart and soul of Texas rhythm and blues. We had James Brown, George Strait, Elvis Costello… but the one that all the other stars came out to see was Delbert.” Delbert had succeeded in creating his own genre, a melting pot of American music, and people still cannot get enough of it. From those early days in Fort Worth roadhouses until the recent COVID crisis shut down touring shows Delbert and his band have crossed the country playing festivals, theatres, and iconic music institutions. From Farm Aid to Carnegie Hall, his popularity grew, and Delbert continues as a “musician’s musician,” influencing many artists along the way. Delbert released Tall, Dark & Handsome, (Hot Shot Records/Thirty Tigers) in 2019, to celebrate his 79th birthday. The album earned Delbert his fourth Grammy® for Best Traditional Blues Album. He also received the Lifetime Achievement Award from the Americana Music Association, and has been featured several times in the Country Music Hall of Fame’s series of live performances, programs and podcasts. In May of 2021, Delbert announced his retirement from touring. Fans and music journalists speculated about what he would do next. This was to be the first time in 64 years that he was not traveling interstate highways and backroads, playing a rigorous schedule. Outdated Emotion brings Delbert McClinton full circle to the songs that started it all.
Released as part of the Acoustic Sounds Series celebrating 70 years of Contemporary Records, Saxophonist Art Pepper's classic big band album +Eleven features modern jazz classics by Dizzy Gillespie, Thelonious Monk, Charlie Parker and more. First released in 1960 and recorded by legendary engineers Roy DuNann and Howard Holzer this new edition features ALL-ANALOG mastering from the original analog tapes by Bernie Grundman. It is pressed on 180-gram vinyl at QRP and presented in a tip-on jacket.
Licorice Pizza is the timeless story of Alana Kane and Gary Valentine growing up, running around and falling in love in the San Fernando Valley, 1973. "This hypnotically gorgeous, funny, romantic movie freewheels its way around from scene to scene, from character to character, from setpiece to setpiece, with absolute mastery."* "Paul Thomas Anderson's most lovable and magical work to date. The breakthrough performances from Alana Haim and Cooper Hoffman are so magnetic and natural that they feel like some kind of miracle."** "Watching Licorice Pizza is like watching life with all the boring parts cut out and like watching movies with all the phony parts cut out." *** Featuring performances by Bradley Cooper, Sean Penn, Tom Waits and Benny Safdie.
Includes Blu-ray, DVD and a digital copy of Licorice Pizza (Digital Copy redemption code subject to expiration. See product insert for details.)
For Evan McCauley (Mark Wahlberg), skills he has never learned and memories of places he has never visited haunt his daily life. Self-medicated and on the brink of a mental breakdown, a secret group that call themselves "Infinites" come to his rescue, revealing to him that his memories are real - but they are from multiple past lives. The Infinites bring Evan into their extraordinary world, where a gifted few are given the ability to be reborn with their memories and knowledge accumulated over centuries. With critical secrets buried in his past, Evan must work with the Infinites to unlock the answers in his memories in a race against time to save humanity from one of their own (Chiwetel Ejiofor) who seeks to destroy it.
From the celebrated Academy Award®-nominated director Mamoru Hosoda and Studio Chizu, creators of Mirai, Wolf Children, and Summer Wars, comes a fantastical, heartfelt story of growing up in the age of social media.
Suzu is a shy, everyday high school student living in a rural village. For years, she has only been a shadow of herself. But when she enters “U”, a massive virtual world, she escapes into the online persona of Belle, a gorgeous and globally-beloved singer. One day, her concert is interrupted by a monstrous creature chased by vigilantes. As their hunt escalates, Suzu embarks on an emotional and epic quest to uncover the identity of this mysterious “beast” and to discover her true self in a world where you can be anyone.
Diamond Star Halos is the brand new album from Def Leppard, their first since their chart topping self-titled Def Leppard record in 2015. Written by the band over the past two years it features 15 tracks including the anthemic, stadium-ready singles “Kick” and “Fire It Up”, with guest vocals from Alison Krauss on “This Guitar” and “Lifeless”. The album title references T. Rex’s “Bang a Gong (Get It On)” with nods to T.Rex, David Bowie and Mott The Hoople across the album, which mixes the sound of their classic spirit with modern fire.
'Heart Under', Just Mustard's second album, asks you to forget what you know. At every turn, this remarkable record reconfigures and stretches the ideas and ambition of a rock band, and turns a year of lockdown and personal struggles into a breathtaking artistic statement. The music the five friends from Dundalk, Ireland make is strikingly untraditional. Though to look at them, it appears that the band are a five-piece with uniform make-up of a vocalist, two guitarists, a bassist and a drummer, not a single one of them utilizes their instrument in a confined or regular fashion. Guitarists David Noonan and Mete Kalyoncuoglu make their six-strings shriek and wail, the sounds produced sounding like everything from whirring machinery to horror movie monsters. Behind them, drummer Shane Maguire uses the rim of his drums almost as much as the skins, providing a clattering, metallic backbeat. Most of the melodies on offer poke through from Rob Clarke's inventive, nodding bass lines. Then there's Katie on vocals; she's the transfixing focal point of the band. Across its 10 tracks, the album presents a coherent style and ethos ' those scything guitars, Katie's magical vocals ' but still incorporates a wide and untethered vision. There are brooding, atmospheric rock songs and others that apply a lighter, dreamier touch, all tied together with impeccable instrumentation and a united vision. 'Heart Under' serves as the next stage of this development, with every instrument brilliantly pushed to its limit and every boundary of the band stretched.
Tell All Your Friends is the groundbreaking debut album from Long Island’s Taking Back Sunday. Boasting the hit singles “Cute Without The ‘E’ (Cut From The Team),” “Great Romances of the 20th Century” and “You’re So Last Summer,” the album is highly acclaimed and has influenced artists of all sizes and genres over the last 20 years. This 20th Anniversary Edition of the album includes four previously unreleased demos.
Super Deluxe contains 8 LPs on 180-gram heavy vinyl showcasing the newly remastered album from the original analog tapes along with 4 complete concerts on the Nevermind Tour from Amsterdam, Melbourne, Tokyo and Del Mar, California. Also included is a first-ever 7-inch for “Endless, Nameless” with B-sides “Even In His Youth” and “Aneurysm,” and a 40-page hardcover book with unreleased photos.
This 10LP box set collects all of ABBA's nine studio albums as well as the specially curated disc of tracks that were only released as singles.
The set, which includes the quartet's triumphant 2021 reunion set, Voyage, coincides with the opening of the unique concert experience ABBA Voyage at the ABBA Arena, Queen Elizabeth Olympic Park, in London. The 10LP edition is pressed on 180-gram, heavyweight vinyl and housed in a bespoke box.
The 10LP box set brings the ABBA story right up to date with the inclusion of Voyage, the 2021 album that added a spectacular new chapter to their unrivalled story. It topped the charts in 18 countries around the world, winning numerous platinum and gold certifications and becoming the group's highest-ranking album in the US in ABBA's history, at No.2. Voyage topped the charts in the UK and across most of Europe, as well as in Australia. Despite only being released in November 2021, it became the No.1 album of the year in Germany, Sweden, and elsewhere, and No.3 in the UK.
The set also includes ABBA Tracks, with such non-album singles as "Gimme! Gimme! Gimme! (A Man After Midnight)," "Fernando," and other favorite B-sides.
It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.
It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.
It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright
Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs
come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from
that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in
which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called
in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.
New single from Caroline Polachek entitled "Billions" and the second to be taken from her upcoming, sophomore album. The single features new B-Side & rework of Brooklyn-based musician, artist, composer, & Mercury Music Prize nominated producer Oneohtrix Point Never's "Long Road Home" from his 2020 album "Magic Oneohtrix Point Never." Caroline Polachek is a Grammy-Award winning artist and songwriter who's lead single "Bunny Is A Rider" was chosen by Pitchfork as their "Best Song of 2021." The LA-based artist released her solo album PANG in 2019 to critical acclaim, receiving praise from Pitchfork (7.3), The Guardian (4/5), NME (4/5), TLOBF (9/10), Paste (8/10), & more. She is confirmed as direct support for Dua Lipa across her North American Stadium Tour, as well as Coachella 2022.
Music From The Motion Picture Top Gun: Maverick features singles "Hold My Hand" by Lady Gaga and "I Ain't Worried" by OneRepublic. It boasts instantly recognizable cuts such as "Danger Zone" by Kenny Loggins, while Miles Teller recorded a live rendition of "Great Balls of Fire." It features original score tracks by the movie's composers - Lorne Balfe, Harold Faltermeyer and Academy Award winners Lady Gaga and Hans Zimmer. The soundtrack continues the musical legacy Top Gun ignited back in 1986.
Scotty initially rose to fame building a following on Vine before transitioning his content to YouTube, where he’s amassed over 450M+ views on his channel alone. In 2020, Scotty signed to Fearless Records and has been hard at work on his label debut, MOOD SWINGS set to release on 3/11.
Upon arrival during the fraught summer of 2020, Flower of Devotion felt like Dehd’s necessary prescription for us all. That was, of course, a moment of unprecedented anxiety and uncertainty, when just contemplating the future could seem overly optimistic. But Dehd captured and shared the precarious balance between real life and real hope, a feat mirrored by instant pop melodies and infectious punk energy. The Chicago trio had the audacity to look ahead when many of us didn’t, to imagine improvement through mere existence. It was an album we needed. We need its follow-up, the triumphant Blue Skies, even more.
Dehd’s fourth album (and first for Fat Possum) is also the band’s second consecutive breakthrough, loaded with the most compelling, compulsive, and expansive songs of their career. Blue Skies offers another jolt of timely hope, only with twice the power. These 13 hits feel like flashlights in the dark, acknowledging how difficult everything from love and sex to living and dying can be while supplying the inspiration of their own experiences. “There’s a hole in my window/I was wondering how the rain was getting in,” Emily Kempf sings during the magnetic “Window,” acknowledging the problem before jubilantly exclaiming she’s moving toward something new. “Blue skies!”
The rapturous reception of Flower of Devotion gave Dehd access to more resources — budgets, studios, producers. Rather than seek something new, however, they invested in themselves, their process, and their deep belief in what they have always done. They booked the same studio where they had recorded Flower of Devotion but tripled their stay, giving themselves time to play with arrangements and delight in a wonderland of drum machines and synthesizers.
Through Dehd’s career, Jason Balla has been building his chops as a producer, so this was a chance to indulge and explore. Eric McGrady, meanwhile, considered how much more he could deliver as a drummer, adding layers to the thump of his past. And Emily, who admits that the process of making records has always been emotionally draining, focused on harnessing her indomitable energy, funneling her power into these songs without being overpowered by them. Dehd gave themselves runway to make mistakes and the space to make a statement. Blue Skies is their poignant, redemptive, and deeply fun testament to trusting and pushing yourself.
These 33 minutes run like a series of interconnected singles, each song so hooky and strong that you’ll be hard-pressed to name a favorite. The triumphant “Bad Love” is a surge of self-liberation, Emily leading the charge through an anthem about admitting your faults, seeking forgiveness, and finding a way forward. “I got a heart full/I got a heart full of redemption,” she offers at the start, a moment that suggests Springsteen writing with The Go-Go’s. A Tom Verlaine quiver to his voice, Jason takes a nighttime walk in the city as anxiety closes in during the irrepressible “Stars,” calming himself with a concrete reminder he’s still here. And there’s Eric’s splendid “Hold,” a chiming wonder with elastic bass lines and cascading piano parts that interlock beneath his hypnotic voice. He affirms the impact of simple acts of love.
But even when they sound ebullient, Dehd has never shied from troubles, the balance that has made them so magnetic. Above wafting synths and marching drum machines, “Memories” feels first like an electro dirge, memorializing lost friends. Such moments — and there are several clouds amid these Blue Skies — are pointed signals of our collective woe. Dehd presses ahead, though, into a future that offers something else if not always something better. What hope, after all, is more dependable? They end “Memories” in a refrain of pure persistence: “I’m doing all I can.” Blue Skies gets real. Blue Skies never wallows.
Toward the end of 2021, Dehd shared stages with Julien Baker, their first substantive chance to take Flower of Devotion on the road. Every night after their set, fans would tell the band how those songs had helped during the toughest times of the last two years. Those listeners had recognized what makes Emily, Jason, and Eric so compelling — they put their individual experiences on the page, then project them together with heart and empathy into instant hooks. Those post-show admissions could be a lot to process for the band, but they provided galvanizing confirmations that they’d made the right decision with Blue Skies. They would keep pulling light out of the dark with songs that feel so fucking good to hear right now.
The writing is sharper and smarter on Blue Skies. The harmonies and rhythms are more sophisticated and considered. The moods are deeper, the swings between them more inspiring. But this is still Dehd, just more wild and wonderful than ever before. “This is all we get,” Emily shouts with relish on the record’s last lines, during a song about the ways geologic deep time should free us all to live more. “Best to take the risk.” Heard, loud and clear.
Deluxe edition. 2021 release. Planet Her is the third studio album by rapper and singer Doja Cat. The album was produced by Doja Cat's frequent collaborators such as Dr. Luke, Y2K, and Yeti Beats, and the rapper herself. Titled after the fictional planet conceived by Doja Cat, Planet Her is an amalgamation of pop, R&B, and hip hop styles. It features guest appearances from Young Thug, Ariana Grande, the Weeknd, JID, SZA, Eve and Gunna.
Some forty years into one of music’s most impactful partnerships, Tears For Fears have arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades. This limited exclusive picture disc vinyl features the iconic album artwork and a shot of the band.
P.H.F. is the recording project of Tāmaki Makaurau (Auckland, NZ) songwriter and producer Joe Locke. From its origins in Locke’s 2008 bedroom productions, P.H.F. has gone on to collaborate with artists like Clairo, Rew and ARTHUR, toured and recorded globally, and had music released on pioneering vaporwave label Crystal Magic, before settling at its current home, US artist-run label Danger Collective Records. More than a decade in, and with a prolific release schedule encompassing studio albums, remixes, acoustic sessions, and esoteric Soundcloud drops, Locke’s music is difficult to categorise in terms of genre. What does link the bratty punk of Mall-O-Caust (2012), the intimate synth-pop of Soft (2015), and the heavy eclecticism of most recent release New Metal (2020), is a palpable emotional directness. “With P.H.F. I want people that listen to it to feel like they’re being held,” says Locke, “or if you feel like shit, hopefully this makes you feel a little better.” By focusing on the pain, boredom, and joy of the everyday, Locke’s songwriting strikes a difficult balance between the universally familiar and the poignantly personal.
P.H.F’s highly anticipated 2022 LP Purest Hell stands as a love letter to Locke’s close friend and essential collaborator Reuben Samuel Winter (milk, Totems) who passed away in September 2020. Expanding on the genre-bending ambition of New Metal, Locke uses musical experimentation as a way to process grief, incorporating shredding guitar, careening breakbeat chops, and heavy electronics as a way of paying tribute to, and feeling closer to Winter. While tracks like “Skincare” and “A Letter From Purest Hell” draw power from a deep and impactful sense of loss, the album is more than just an elegy, but a celebration of life of a beloved friend and musical innovator. Locke rises to the occasion, and with the help of collaborators Fantasyluv, Rew, and fellow 909 Worldwide members 99jakes & Forcefeeded, crafts his strongest and most affecting suite of songs to date.
With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgōne has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously.
The release features lead vocal contributions from Orgōne’s ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both “head banging”-ly satisfying and eminently groovy. Opener “Working for Love” rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector’s call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals “Samson” and “Crusader” round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point.
Lost Knights is ultimately a fun record- an expansion of a profound part of the band’s DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson ‘68 Chevy Camaro. With racing stripes.
‘Flicted, the new studio album from award-winning pianist, singer and songwriter Bruce Hornsby, is set for release on May 27 via his own Zappo Productions/Thirty Tigers. Recorded last summer, the new record is the follow up to Hornsby’s acclaimed albums, 'Absolute Zero' and 'Non-Secure Connection.'
‘Flicted completes a trilogy of song collections (Absolute Zero and Non-Secure Connection) based on film “cues” Hornsby composed for writer and director Spike Lee. This unique approach enables him to build upon and explore new stylistic techniques while collaborating with a wide variety of talented artists. On ‘Flicted, Hornsby’s goal was to make a more upbeat record overall, speaking on COVID-19 using the world of science as a recurring influence.
“The album title ‘Flicted relates to this strange time in which we live, when the world is basically, well, ‘flicted,” adds Hornsby.
Co-produced by Hornsby and Tony Berg, the 12-track album features additional production work from Rechtshaid and Wayne Pooley. ‘Flicted also features a duet with Danielle Haim on the pandemic shut-down era piece “Days Ahead” as well as further contributions from Rob Moose who provided several arrangements and performances individually and as a member of yMusic. The record also includes a re-imagining of Chuck Berry’s “Too Much Monkey Business,” marking the first cover song to ever appear on Hornsby’s studio releases.
Based out of Williamsburg, VA, Hornsby first rose to national prominence with The Way It Is, his 1986 Grammy-winning debut album with The Range. The title track became the most-played song on American radio in 1987 while Tupac Shakur’s timeless song “Changes” builds on “The Way It Is” and set the stage for many subsequent versions of the track, including Polo G’s recent single “Wishing For A Hero.” In 1991, Hornsby collaborated with Bonnie Raitt, playing on her iconic hit “I Can’t Make You Love Me.” Additionally, Hornsby was a part-time member of the Grateful Dead from September 1990 to March 1992, performing over 100 concerts in America and Europe. In 2019, Hornsby co-wrote “U (Man Like)” with Justin Vernon for the latest Bon Iver album i,i. Hornsby has also written six full film scores for Spike Lee including his recent Netflix series “She’s Gotta Have It,” and contributed music to five others, including 2021’s NYC Epicenters 9/11→2021½.
The 13-time Grammy nominee has solidified his status as a highly sought-after collaborator. Hornsby’s own 23 albums have sold over 11 million copies worldwide, and he has appeared on over 100 records including releases with Bob Dylan, Don Henley, the Grateful Dead, Stevie Nicks, Ricky Skaggs, Bob Seger, Chaka Khan, Brandon Flowers, Bonnie Raitt, Sting, Mavis Staples, Willie Nelson and more.
Sacred Bones is an independent record label and publishing company based • in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.
Our fifteenth anniversary as a label will be honored with several events and an exciting vinyl repress collection but the crown jewel of this year’s celebration is the compilation Todo Muere that features beloved artists from our roster covering their favorite songs that we have released over the years. The compilation features innovative pairings, like punk stalwarts Institute covering art pop sensation SPELLLING, and matches made in heaven like Marissa Nadler’s gorgeously eerie cover of David Lynch’s already eerie song “Cold Wind Blowin.” Some songs are sister renditions with their own imaginative touch like Constant Smiles’ cover of Jenny Hval while others, like the Zola Jesus song performed by Thou, Mizmor and Emma Ruth Rundle take on entirely different genres. And while each song on the comp stands on its own as a testament to the many song writing and song performance talents housed on the Sacred Bones roster, the compilation as a whole was sequenced as a cohesive whole deserving prime placement on any record shelf.
Post Malone - Twelve Carat Toothache - Mercury Records/Republic - Post Malone (9-time Grammy nominee) says of Twelve Carat Toothache, "I think this whole record is the most honest record I've made, and I'm so pumped for people to hear it. Every song in there tells a story."
On her sophomore album, S.G. Goodman brings a series of powerful vignettes to life, with a sound that builds off her Southern roots but ventures deeper into indie rock and punk. Teeth Marks is about what love actually is: its psychological and physical imprint, its light, and its darkness.
The fifth studio project from the Tedeschi Trucks band, is the most ambitious and, at the same time, intimate record that America's best rock'n'roll big band has ever made: a genuinely epic undertaking in four episodes and 24 songs inspired by classical literature but emotionally driven by the immediate drama, isolation and mourning of the pandemic era.
Welcome 2 Club XIII, DBT’s 14th studio album, marks a sharp departure from the trenchant political commentary of their last three records.
A reckoning with the dualities of the things that make you alive and how they sometimes can kill you. A life affirming flashlight for the dark nights of one’s soul. The title track is a tongue in cheek homage to a local dive that founding members Cooley and Hood played in the early days. As they say in the song “Our glory days did kinda suck”.
James Brown had the Apollo. Jimi Hendrix had Monterey Pop. And Prince had Syracuse, New York’s Carrier Dome—the Purple Rain Tour performance that was beamed to millions live via satellite and captured for posterity in the Grammy Award-nominated concert film Prince and The Revolution: Live, and has since gone down in history as one of the most iconic live recordings in pop and rock history. Available on vinyl for the first time, this powerful performance by Prince and The Revolution has been entirely remixed from the original 2” multitrack master reels. The new version of Prince and The Revolution: Live will be available on 3 black LPs with a 16-page book with never-before-seen photos of the Purple Rain Tour and new liner notes.
From Orpheus to Icarus, depths to heights, and the thresholds in between. I’m interested in the moment when something becomes something else, when somewhere becomes somewhere else. That membrane that separates inside from outside. Retreating as we do in to the underlands , to molt our plumage, to exorcise our inside problems and emerge like newborn foals shaking, naked, squinting in the light. Don’t you know that I’m an irrepressible optimist working with a fatal flaw? The ghost that refuses to appear in the clock across the hall. You can set the table and call to her, but she decides when to visit. So, we imbue objects with crazy power to forget that we’ve been abandoned at a truck stop on the Ohio turnpike. To forget that we took a scouring pad to the places where art, music and community thrive. Promise to resist until you die and never fall apart again. - ANDREW BIRD • Produced by Mike Viola • Recorded at United Recording • Featuring musicians: Alan Hampton, Madison Cunningham, Abe Rounds, Jimbo Mathus, Mike Viola
"Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us.
Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen’s Big Time were forged in such a whiplash.
“I can’t say that I’m sorry / when I don’t feel so wrong anymore,” the record begins, her voice softer and more open than ever, as if she’s singing through a hard won smile. “All the Good Times”, a twangy banger with nods to JJ Cale, starts the album on a triumphant and bright note. The title song, “Big Time”, follows and continues the warm optimism. “Guess I had to be losin’ to get here on time,” she sings, a fearless love song co-written with her partner.
Big Time is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen’s process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she’d been avoiding for some time.
“Some experiences just make you feel as though you’re five years old, no matter how wise or adult you think you are,” she writes of that time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. “Finally, at the ripe age of 34, I was free to be me.”
Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Though she was fearful their presence as a newly out queer couple would be “an additional symbol of loss,” those days went peacefully, yet only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. Another trip back to St. Louis, another grief to face, another deepening and intensification of this still-new love.
The shards of this grief—the shortening of her chance to finally be seen more fully by her parents—are scattered throughout the album. “It’s a hard time again,” she sings on “This is How It Works”, pushing against the irrevocability of death, “Tell me a story that will make me forget.” “Go Home”, which begins with an almost numbed calm, slowly builds up to a wailing that comes up straight from the ground: “I want to go home, go back to small things. I don’t belong here. Nobody knows me.”
“You can’t plan grief, you can’t organize it or schedule it or know how you’ll feel when it comes. It just happens, and when it does sometimes it’s not what you thought it would be.” Three weeks after her mother’s funeral she was in the studio, recording this incredibly wise and tender new album.
Loss has long been a subject of Olsen’s elegiac songs, but few can write elegies with quite the reckless energy as she. If that bursting-at-the-seams, running downhill energy has come to seem intractable to her work, this album proves Olsen is now writing from a more rooted place of clarity. She’s working with an elastic, expansive mastery of her voice—both sonically and artistically. These are songs not just about transformational mourning, but of finding freedom and joy in the privations as they come.
Playful bits of Tammy Wynette and Kitty Wells are here, too, but so are the complex orchestrations of her genre-bending 2019 record, All Mirrors. While that record was full of dramatic shifts and twists, here the surprises come in their simplicity—a slow swell of strings, instrumentation that cycles like a storm, or sparkling horns in a light-flooded break-up ballad.
While the spritely nature of her last EP, Aisles, may have signaled Olsen’s turn deeper into the electronic direction of her last All Mirrors, there’s hardly a synth in sight here. Jonathan Wilson, served as co-producer and also mixed the tracks, while Drew Erickson played piano, organ, and scored the string arrangements. Emily Elhaj, Olsen’s longtime bandmate, was a consistent collaborator as well, on the bass throughout.
“And I can’t fit into the past that you’re used to, I refuse to,” she sings as a wraithlike piano scaffolds her hopeful voice on “Ghost On”. “Forget the old dreams,” she rejoices on “Go Home”, “I got a new thing.” Darkness inherently suggests depth, but it takes a much wiser writer to find meaning and complexity in the luminous place that Big Time occupies. “Chasing the Sun” ends the record in a smiling, romantic place, a verdant crescendo rising as she pines: “Write a postcard to you / when you’re in the other room/ I’m just writing to say that I can’t find my clothes / If you’re lookin for something to do.”
The burning of her earliest work is still here, of course, but this time she’s “freed from the longing / for one moment to last” and she’s ready to “walk through the fires / of all earthly desires.”
"Fusing elements of each of his early influences, from Joni Mitchell to Phoebe Bridgers, Zaidi is creating soundscapes that bring awareness of documenting the euphoric high-and-low feelings of youth." - Unpublished Magazine. "Reminds us of the Garden State soundtrack in all of it's closeness and acoustic guitar strumming. This one's terrific." - American Songwriter. '2013' is a sweeping nostalgic offering from Zaidi... emotive, lyrically dense reflections... pulling from folk touchstones." - Under The Radar. "Formerly lo-fi, now increasingly hi-fi future soul musician." - KEXP
Michael Franti has long been revered for his inspiring music, worldwide philanthropic efforts and the power of optimism. Deemed by NPR as “equal parts musician and activist,” Franti continues to offer opportunities for gratitude, solidarity and celebrating how we get through the greatest ups and downs of our lives with our body, mind and soul still in one piece with his upcoming 12th studio album Follow Your Heart, set for release June 3 via Thirty Tigers. You can pre-order the album today from your local record store. The CD will be available on June 3, and Vinyl will be available August 12.
“One thing I learned these last couple of years is that people need people,” shares Franti. “I wrote many songs about connection, resilience and finding the light, even in the midst of all the crazy. Somewhere in there we find resilience, and I hope Follow Your Heart gives fans the courage to continue looking for and holding onto that perseverance.”
Michael Franti & Spearhead will embark on the Follow Your Heart World Tour on May 13, performing across North America through the summer with plans to announce additional dates, before heading to Europe in early 2023. Tickets are on sale now at MichaelFranti.com.
Released in 1970, Watertown is a lost masterpiece. It was a turning point for Frank Sinatra: a concept album from the man who pioneered the concept album, written by Bob Gaudio, of Four Seasons fame, and Jake Holmes, who previously had written the Four Seasons’ own concept album.
Despite a top 5 AC chart showing for the single “I Would Be In Love (anyway),” the album was poorly received at the time, but has gone through a re-evaluation in recent years and is now considered one of Sinatra’s finest recordings.
The LP edition featuring the original 10-track sequence, a package with all original lyrics, a printed sleeve with new liner notes, a track-by-track breakdown from Mr. Gaudio, and a 12” X 24” poster.
Darius Rucker will be releasing his #1's on CD for the first time. It includes 10- #1 Hits that span over 10 years. It begins with "Don't Think I Don't Think About It" which was his first #1 and all of the way up to 2020 with his #1- "Beers and Sunshine". Darius has released 5 solo country albums on Capitol Records Nashville that have included 10 #1 Country Songs.
Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, it's 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."
Jasmyn is the new solo project created by Jasmyn Burke, former singer-song- writer and frontwoman of the critically acclaimed Canadian band, Weaves. Hav- ing two JUNO nominations for Alternative Album of the Year and two SOCAN Songwriting Prize nominations, Burke has established herself as one of Cana- da’s most exciting and fresh voices.
With this new project, she has decided to use her own name, Jasmyn, to mark the start of exploring her own unique sound as a solo artist. Collaborating re- motely with Los Angeles-based producer John Congleton (St. Vincent, Angel Olsen, Sharon Van Etten) on a body of work she had compiled over months of being in lockdown. Finally in the Spring of 2021, Jasmyn went to LA to record with Congleton, exploring themes of finding patterns in life and how to perhaps change them.
On the general direction of her new album In the Wild, Jasmyn said, “This was written during the Fall of 2020; The world was feeling pretty heavy, and I felt myself wanting to write music that created a mood of happiness and space to grow. I feel like I have grown and changed as a person over the last few years and wanted to write songs that created a sense of confidence and well-being.”
With Weaves receiving worldwide support from the likes of Rolling Stone Mag- azine, NPR, Pitchfork, and more, Jasmyn is excited to share a new side of herself, perhaps her most honest and raw work to date.
Having taken some time out after the busy schedule surrounding their 2003 debut album Keep On Your Mean Side, The Kills returned with No Wow in 2005, a dark and brooding musical examination of the period in which New York's punk scene became its dance scene. This 2022 reissue features new mixes of the original album by Tchad Blake (Arctic Monkeys, The Black Keys, Sheryl Crow).
7 years after their last studio album, The Inevitable End, and their farewell to the traditional album format, Röyksopp unveils Profound Mysteries, an expanded creative universe and a prodigious conceptual project. In 2022, they embark on a new chapter in their career and musical oeuvre, exploring technology and nature in a similar fashion as in their youthful days in Tromsø, but with added profundity. "As human beings, what we don't know vastly overshadows what we do know. As teenagers, we would discuss our own fascination and preoccupation with the infinite and the impossible - the most profound mysteries of life." After stepping on a lot of puffball mushrooms out in the forest and emerging from an organic cloud of dust, they deliver their most extensive work to date and reveal once more why only Röyksopp is Röyksopp.
Riff-monsters Crobot conjures up the kind of rock 'n' roll that has grooves so powerful they throw you around the room and hooks high enough to shake the heavens. With tens of millions of streams, countless shows and acclaim from the likes of Metal Hammer, Classic Rock, Kerrang, BBC Radio, SiriusXM Octane, Loudwire, Guitar World and more, Brandon Yeagley [vocals], Chris Bishop [guitar], Tim Peugh [bass], and Dan Ryan [drums] realize their vision like never before on their fifth full-length, 'Feel This', available everywhere June 3rd via Mascot Records. 'Feel This' is the follow-up to 2019s Top 10 Heatseekers album Motherbrain - whose cumulative streams have surpassed 30 million. 20 million of which were for the goliath single "Low Life" - a US Top 10 hit at the Mainstream Rock radio with a 29-week run on the Billboard charts. "This is the record we've been wanting to do ever since we started," exclaims Brandon. You'll feel rock 'n' roll comes to life in Crobot's hands. "We never want to make the same album twice," Brandon leaves off. "There is something for every Crobot fan out there as well as newcomers. At the same time, we're having fun. We want to be taken seriously, but not too seriously-because this is monkey hour after all. We want you to walk away smiling. If we can make you smile, we've done our job".
First time ever on vinyl! Limited four vinyl LP pressing in a gatefold Stoughton 'tip-on' M-Pack jacket. Following on the heels of Light in the Attic's vinyl LP release of One From The Vault comes the next in the trilogy of From The Vault releases by The Grateful Dead. These releases are distinguished from the more abundant Dick's Picks series in that Dick's Picks are 'direct from the soundboard' recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the 6 piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, and Hart, freshly remastered in 2014 by Joe Gastwirt for maximum mind expansion. Nine dynamic songs on eight sides of wax - five songs weigh in around the 15-minute mark, while three others touch down close to 10 minutes. This is the Dead at their most improvisational while still retaining the Blues-Rock roots of the 'Pigpen' years.
Limited quadruple vinyl LP pressing housed in a gatefold Stoughton "tip-on" jacket. From The Vault releases are distinguished from the more abundant Dick's Picks series in that Dick's Picks are "direct from the soundboard" recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on eight sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release!
Keanu Reeves plays Neo, a computer hacker who learns from mysterious rebels about the true nature of his reality and his role in the war against its controllers. The Matrix went on to become a billion dollar franchise, and Don Davis' epic scores propelled the story forward across three films.With The Matrix returning for a 4th installment, new and original fans are revisiting the film that started it all.The original score is presented here in all its glory, 44 tracks over three LP’s, a substantial expansion of the 10 track album released at the time of the film in 1999.
This deluxe 3-LP set expands the original 10 track vinyl release to encompass the complete film score of 44 tracks. Housed in a stunning new art design featuring a three feet long fold-down cover, the package also includes classic film stills and an exclusive new interview with composer, Don Davis.
A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, Growing Up, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.’s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike. The Linda Lindas are stoked to unleash Growing Up.
The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie.
When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles. But they never expected or could have even dreamed that their performance of “Racist, Sexist Boy” for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows.
A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP. Having written a mountain of new material individually while sheltering in place and attending class virtually, the band was more than ready to enter the studio where Mila and Lucia’s dad (and Eloise’s uncle and Bela’s “uncle”) Carlos de la Garza oversaw recording and production. The Grammy-winning producer’s work includes Paramore, Bad Religion, Best Coast, and Bleached.
BDP's first album--and the only one to include the late DJ Scott La Rock--sounded harder than hell when it came out in 1987. Though the simple beat-box patterns on a few tracks sound dated, most of La Rock's tracks are bluntly effective, especially the AC/DC riff he appropriates on "Dope Beat." And KRS-One still performs most of his Criminal Minded rhymes, because his audience knows them word for word: the ultraviolent dancehall of "9mm Goes Bang," the battle cry of "South Bronx" (and its counterpart, the anti-Juice Crew screed of "The Bridge Is Over," with its little Billy Joel homage), the catalog of La Rock's condom collection on "Super-Hoe." KRS bloomed later; here, he just rocked.
Spaceface is a self described "Retro Futurist Dream Rock" (but you can call them psychedelic-pop) band from Memphis, TN and Los Angeles, CA, active since 2012 and including current and past members of The Flaming Lips and Pierced. Their unique alloy of dream-pop, funk rock and post-disco, charged by the Sun, ultimately shines way past our collective bedtime, akin to a glow-in-the-dark Slime Science Lab kit. Spaceface's upcoming full-length, Anemoia is the result of several months spent at Blackwatch Studios in 2019, working with producer Jarod Evans, writing new material, inspired by funk rock classics, as well as the turn of the millennium psychedelia revival. Pressed on limited "Libation Initiation' orange swirl color vinyl.
Fantastic Negrito’s upcoming album and short film "White Jesus Black Problems" was inspired by a search into his ancestry where he found that his 7th generation grandmother was a Scottish indentured servant who entered into a common law marriage with an African American enslaved man, his 7th generation grandfather, in open defiance of the racist laws of 1750’s colonial Virginia. Their love story is a healing testament to standing up against inhumane and brutal systems with love as your only weapon.