Easy Street Records

This is a limited edition Metallic Gold vinyl pressing. This is the first time this record has been pressed on color vinyl.

This is a first time color vinyl pressing of the anticipated follow up to the Grammy® Award-winning 2009 release Townes titled, I'll Never Get Out Of This World Alive . This 11-track set was produced by T-Bone Burnett and was Earle's first collection of original material since his 2007 Grammy® Award-winning album, Washington Square Serenade. The album includes the celebrated song" This City," written for the HBO Original Series, TREMÉ, which Earle also appeared in as an actor. "This City" features horn arrangements by Allen Toussaint and has garnered a Grammy® Award Nomination in the Best Song Written for Motion Picture, Television or Other Visual Media Category. Other highlights include the ballad "Every Part of Me" and the ode to those who make their living on The Gulf Of Mexico.

30 is the first new music from Adele since the release of her third studio album 25 in November 2015.  The album is produced with former collaborators Greg Kurstin, Max Martin and Shellback and Tobias Jesso Jr., as well as new collaborators Inflo and Ludwig Goransson.

A limited-edition black vinyl release of the Grammy-award winning U2 album Achtung Baby, to celebrate its 30^th Anniversary.

Produced by Daniel Lanois and Brian Eno, and recorded between Berlin’s Hansa Studios and various locations in Dublin, Achtung Baby was released to critical acclaim in 1991 & is regarded as one of U2’s most seminal albums. The album featured five singles: ‘The Fly’, ‘Mysterious Ways’, ‘One’, ‘Even Better Than The Real Thing’ and ‘Who’s Gonna Ride Your Wild Horses’.

Please note product includes explicit content.

In 1976, KISS dropped the bombshell on the world being DESTROYER, an album that originally received resistance from fans due to the band exploring a new sound and has long become the quintessential and all-time best selling KISS studio album.

Exploding with concert staples and KISS Army favorites like “Detroit Rock City,” “Shout It OutLoud,” and “God Of Thunder” – the album’s new sounds came from the softer side of songs like “Do You Love Me?,”and songs heavy with orchestral arrangements including “Great Expectations” and their surprise hit single “Beth.”

For the 45th anniversary, UMe is releasing the most comprehensive Super Deluxe Edition 4CD + Blu-ray Audio boxset that will melt the KISS Army’s minds. The original album on CD 1 is newly remastered by Abbey Road Mastering, CD 2 features 15 demos from Paul Stanley’s and Gene Simmons’s personal archives – 9 of which are unreleased. CD 3 loads up with studio outtakes, alternate versions / mixes and single edits – most notably a brand-new stripped-down mix for “Beth (Acoustic Mix)” where we found the acoustic guitar stems recorded for the entire song but originally only used in the last several closing notes of the song on the album. CD 4 features a ripping performance from the band’s visit to Paris France at the L’Olympia on May 22, 1976.

Steven Wilson was brought in to create a first-ever Dolby Atmos and 5.1 surround mix of the original studio album plus 2 bonus tracks “Beth (Acoustic Mix)” and “Sweet Pain (Original Guitar Solo)” the latter featuring Ace Frehley’s original recorded guitar solo that was not released on the studio album (this track is available on the 2012 Destroyer: Resurrected project.)

Packaging features a lift top-style box loaded with so much ephemera even KISS fans may need to seek medical advice upon receiving this boxset

Few artists are storytellers as deft and disarmingly observational as Andy Shauf. The Toronto-based, Saskatchewan-raised musician’s songs unfold like short fiction: they’re densely layered with colorful characters and a rich emotional depth. Like he’s done throughout his career, Shauf wrote, performed, arranged, and produced every song on his new album Wilds at his studio space in the west end of Toronto.

Over the course of a year-and-a-half, Shauf had written more than 50 songs, and pared down this massive body of work, into a single album’s worth of material, which became 2020’s highly acclaimed The Neon Skyline album. These songs focused on a theme by intertwining the individual characters stories of a group of friends who gathered for one night at the same local bar. Wilds includes songs from those same writing sessions, that did not fit into the Skyline storyline and had their own singular identity apart from that album, though he does revisit with his old friends Judy and Jeremy in this outing.

Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king. Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. 'I wanted it to sound live...When you've got a catalog like Guy's and you're only doing sixteen tracks, you know each one is going to be strong.'
Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end Guy leads the listener back to its beginning, namely Guy Clark, which is what any good 'tribute' should do.  Guy is a saga of friendship, its ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, Guy is a diamond.

A collection of holiday classics reimagined earnestly and passionately by beloved indie rock stalwarts Manchester Orchestra. Familiar, inclusive, and the essence of holiday spirit, regardless of one’s beliefs. Holiday Red LP with B-Side Etching.

HuDost’s new album defines real, honest love and is a lush, breathtaking original collection of compositions that ask important questions and evoke the imagery of dreams. Special guests include Jars of Clay, The Accidentals, Christie Lenée and others. The music video for the first single ‘Our Words Will Be Louder’, included additional cameos from Kevin Clash (Elmo), Kevin Hearn (Barenaked Ladies), Cy Curnin (The FIXX), GangstaGrass, Alana Bridgewater, Nawal, Hymn for Her, Jai Uttal, and more.

Hand Habits, the project of Los Angeles-based musician Meg Duffy (they/them), is back with their new album Fun House - the most ambitious Hand Habits album to date. Produced by Sasami Ashworth (SASAMI) and engineered by Kyle Thomas (King Tuff), the record was not intended as a reaction to the pandemic, but it was very much the result of taking a difficult, if much-needed, moment of pause. Emboldened by going into therapy and coaxed by Ashworth to push the songs into unexpected new shapes, the resulting music is more acutely personal and stylistically adventurous than anything you’ve heard from Hand Habits before. The push/pull of styles, paired with songs that move deftly between the present and past, give the record a wildly diverse, hall of mirrors quality that befits its name. Where previous Hand Habits records could be fairly insular affairs, Fun House feels ebullient, lush, a fully-realized conversation.

Super Deluxe contains 5 CDs 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. Additionally, a Blu-ray of the complete Live in Amsterdam concert video (newly remastered in HD) is included along with a 40-page hardcover book with unreleased photos.

"Musically and lyrically, Red resembled a heartbroken person. It was all over the place, a fractured mosaic of feelings that somehow all fit together in the end. Happy, free, confused, lonely, devastated, euphoric, wild, and tortured by memories past. Like trying on pieces of a new life, I went into the studio and experimented with different sounds and collaborators. And I'm not sure if it was pouring my thoughts into this album, hearing thousands of your voices sing the lyrics back to me in passionate solidarity, or if it was simply time, but something was healed along the way...This will be the first time you hear all 30 songs that were meant to go on Red. And hey, one of them is even ten minutes long." - Taylor Swift. Includes 9 unreleased songs from the vault.

Book is a new phase They Might Be Giants album presented on 180-gram audiophile vinyl LP with package design by Paul Sahre. Featuring "I Broke My Own Rule," "I Lost Thursday," and "I Can't Remember the Dream," Book is billed as a beacon of light amid a pretty unanimously rough period of time with the band's John Linnell describing it's songs as "humorously germane to the catastrophe going on around us."

Things Take Time, Take Time is an assured leap forward for Barnett; a breakthrough really. This is Barnett at her most relaxed, creative and joyful. An exquisite look at the intimate, private world created by Barnett and drummer/producer Stella Mozgawa (Warpaint, Cate le Bon, Kurt Vile). It's consequently her most beautiful and intimate record to date.

"Woke up singing a dead man's song..." is the opening line from the Warren Haynes original "Heavy Load," a line of imagery that feels like the beginning of dirt. Blues. On this album, the iconic American band puts their unique musical stamp on an incredible collection of Blues covers and originals. Haynes, the leader of Gov't Mule, hails from a Southern rock tradition of scruffy virtuosity. Gov't Mule is Warren's show, and the Blues is the informing foundation, personal and universal.

Original remastered album, previously unreleased full live concert and BBC Session Recorded in 2012, 2011 Electro-Vox Session, limited-edition poster and lithograph, “new car scent: air freshener, 100-page photo book.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio album El Camino via Nonesuch Records on November 5, 2021. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC radio Zane Lowe session from 2012, a 2011 Electro-Vox session, a limited-edition photo book, poster, and lithograph, and a “new car scent” air freshener. A three-LP Deluxe edition, which includes the remastered album and the live recording, also will be available.

The Black Keys won three awards at the 55^th annual GRAMMY Awards for El Camino— Best Rock Performance, Best Rock Song, and Best Rock Album—among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band).

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. In the UK, the record gave the band their first top 10 hit, and in the US it debuted at # 2 on the Billboard Top 200. The band was also the # 1 most played artist at Alternative and AAA radio formats for 2012 in the US.  The album’s first single, “Lonely Boy,” reached # 1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio.  The second single, “Gold on the Ceiling,” also reached # 1 on Alternative radio and the third single, “Little Black Submarines,” reached the top 3 at Alternative radio.   El Camino has been certified Double Platinum in the US, Australia, and New Zealand; Platinum in the UK, France, Ireland, and Belgium; Quadruple Platinum in Canada; and Gold in Denmark, Italy, the Netherlands, and Spain. Of the album’s singles, "Lonely Boy" was certified nine-times platinum in Canada, triple-platinum in Australia, platinum in New Zealand, and gold in Denmark. "Gold on the Ceiling" was certified platinum in Australia and Canada.

Rolling Stone hailed El Camino for bringing “raw, riffed-out power back to pop’s lexicon,” and called it “the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.” The Guardian said, “They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.”

Beautiful Garbage is the third studio album from Garbage, initially released on October 1, 2001. The album expanded on the band's musical variety, with stronger melodies, more direct lyrics, and sounds mixing rock with electronica, new wave, hip hop, and girl groups. Featuring newly remastered audio by Billy Bush & Butch Vig, this deluxe edition includes Beautiful Garbage on 2 x 180g Black Vinyl, as well as a 12" 180g of B-Sides and memorabilia.

Diana Ross sings “Thank You” to the world.  “This collection of songs is my gift to you with appreciation and love. I am eternally grateful that I had the opportunity to record this glorious music at this time,” said Ms. Ross. Her new album, “Thank You” is scheduled for release this fall through Decca Records / Universal Music Group. The title track and first single,” Thank You,” will be available for streaming and download on June 17.

Recorded in her home studio, “Thank You" offers a powerful, inclusive musical message of love and togetherness.  With its songs of happiness, appreciation and joy, it wholeheartedly acknowledges that we are in this all together. Her family, friends and loyal and loving audiences all around the globe have been an integral part of her wonderful life’s story. In this special moment, it is time to step into the light.

Ms. Ross co-wrote and collaborated on the 13 songs along with award-winning songwriters and producers including: Jack Antonoff, Troy Miller,Triangle Park, Spike Stent, Prince Charlez, Amy Wadge, Neff-U, Freddie Wexler, Jimmy Napes, Tayla Parx, Fred White, and Nathanial Ledgewick.

Let us come together in harmony and gratitude with Diana Ross now and for the future. “I dedicate this songbook of love to all of you, the listeners. As you hear my voice you hear my heart.  "Let Love Lead the Way”

Simply calling Curtis Harding a soul man feels reductive. Harding's voice conveys pain, pleasure, longing, tenderness, sadness and strength-a full gamut of emotions. Today his voice takes on an optimistic lilt with his his new album, If Words Were Flowers. If Words Were Flowers is Harding's first new music since 2018, a follow up to his critically acclaimed 'Face Your Fears" album. It features songs like " Hopeful", where Harding croons with devotion over a classic soul groove, textured with infectious horn playing, background singers and modern psychedelic flourishes. Harding fuels his psychedelic sound with the essence of Soul but isn't bound by it. Instead, his songs convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour around the country as a child to rapping in Atlanta, forming a garage band with The Black Lips' Cole Alexander to singing back-up for Cee Lo Green. Through these experiences he fully embraces life's darkest intricacies and conjures dynamic, addictive melodies

The Low Highway was the follow-up to 2011's Grammy Award-nominated album I'll Never Get Out Of This World Alive and was the first billed as "Steve Earle & The Dukes (& Duchesses)." The album is also the first to feature "The Dukes" band name since 1987's Exit 0. This is the first color pressing for this record.

Ohio Players is The Black Keys’ fourth album in five years, a momentum with a simple explanation, Auerbach says: “We never stopped recording.” There was his and Carney’s reunion, after a five-year hiatus, on 2019’s "Let’s Rock”, then the 2021 blast of Mississippi-hill-country covers, Delta Kream. A rapid-fire follow-up of new originals, 2022’s Dropout Boogie, featured the duo working with outside writers for the first time: Greg Cartwright of Memphis rockers Reigning Sound and Angelo Petraglia, who has worked with Kings of Leon and the teenage Taylor Swift. (Cartwright and Petraglia are back for Ohio Players too.)
“We'd never worked harder to make a record,” Dan Auerbach says. “It's never taken us this long to make an album. We took our time and did it right.”
 
“What we wanted to accomplish with this record was make something that was fun,” Patrick Carney says. “And something that most bands 20 years into their career don’t make, which is an approachable, fun record that is also cool.”
While making Ohio Players, a title inspired by the legendary Dayton, OH funk band of the same name, The Black Keys were also DJing dance parties in cities around the world that they called “record hangs,” spinning 45s from their own eclectic and growing collections. Mojo reports, “The spirit of those parties infused the album’s DNA. ‘That’s been the fun of it,’ [says] Auerbach. ‘Letting go a little bit.’” 

Revelator is an album that speaks to “the grand sadness in life” — perennial Phosphorescent subject matter, by
Matthew Houck’s estimation. In some ways, Revelator extends seamlessly from the story begun by Muchacho and
continued by C’est La Vie. It finds Houck further mastering his unique blend of ragged, experiment-y classicism
intertwined with ethereal, lachrymose atmospherics. Across Revelator, Houck sings from a woozy, worn headspace,
but leads us to a place where dreams and reality mingle. Indie Exclusive Black Ice LP.

On her most ambitious album yet, No One Gets Out Alive, singer-songwriter Maggie Rose proves she’s a true original. Though the electrifying record is her fourth release, in many ways it feels like her first. No One Gets Out Alive is a knockout career game-changer. Filled with deeply intimate, relatable songs that showcase her masterful storytelling, the album showcases her soulful, powerful voice and pulls you in immediately. Unencumbered by genre, No One Gets Out Alive reflects Maggie’s varied influences including rock, soul, Americana, pop and folk, all colliding for a deeply satisfying listen. Maggie Rose inhabits her music and distills it into something all her own. With unflinching honesty, she does everything authentically and completely.

The precocious and prodigious drummer and composer Tony Williams had already joined the Miles Davis Quintet and participated in numerous landmark Blue Note recordings including Herbie Hancock Empyrean Isles, Eric Dolphy Out To Lunch, Andrew Hill Point Of Departure, Jackie McLean One Step Beyond, and Grachan Moncur III Evolution by the time he recorded his own adventurous debut album Life Time in August 1964, when he was still just 18 years old. Williams had no intention of playing it safe on his maiden voyage as a leader and set forth to document his uncompromising expression on this program of innovative original compositions.

Side 1 presents the expansive two movement suite "2 Pieces of One" with the drummer joined by tenor saxophonist Sam Rivers and bassists Gary Peacock and Richard Davis. Side 2 opens with the jaunty "Tomorrow Afternoon" featuring Williams, Rivers, and Peacock. Williams plays a variety of percussion on the freely improvised "Memory" which features Herbie Hancock on piano and Bobby Hutcherson on vibraphone, and lays out entirely on the ruminative piano-bass duet "Barb's Song to the Wizard" performed by Hancock and Ron Carter which closes the album.

Khruangbin’s fourth studio album, A La Sala (“To the Room” inSpanish), is an exercise in returning in order to go further, anddoing so on your own terms. It continues the mystery and sanctitythat is the key to how bassist Laura Lee Ochoa, drummer Donald“DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music.If 2020’s Mordechai, the last studio LP Khruangbin made withoutcollaborators, was a party record that enhanced the band’s musicalreputation far and wide, then A La Sala is the measured morningafter. It’s a gorgeously airy record completed only in the companyof the group’s longtime engineer Steve Christensen, with minimaloverdubs. It’s a window onto the bounties powering Khruangbin’svision, a reimagining and refueling for the long haul ahead. A LaSala scales Khruangbin down to scale up, a creative strategy withthe future in mind. 

The trio’s collective musical DNA, the years spent constructing itin Houston’s local-meets-global cultural stew, ensures the bandcontinues to sound like no one but itself. A cascade of crispmelodies emanates from Marko’s reverb-heavy electric, dancinggently around Laura Lee’s minimalist almost-dub bass triangles,while DJ’s drums serve as the tightened-up pocket and unwaveringdance-floor on which all this movement takes place. Yet there’s afreshness to A La Sala’s instrumental interactivity, less concernedwith getting further out than going deeper in, a profound desire tocelebrate the world’s external wonders. Where prior albums strivedtowards music’s polyglot edges, such inquiries now sound likebeloved intimacies. Here, Khruangbin’s sonic touch-points —whether spaghetti-western film scores (on “Fifteen Fifty-Three”),West African discos (on “Pon Pón”), G-funk fantasias (“TodavíaViva”), living room dancing moments (the first single, “A LoveInternational”), or even ambient found-sounds (on “Farolim deFelgueiras and throughout the album”) — are ingrainedcharacteristics. This is who they are! Unique and huge (andgrowing), ambitious and driven. 

Khruangbin’s aspirations and commitment to playful creativityeven extends to A La Sala’s vinyl packages, of which there will beseven distinctive covers and color-sets. Designed by the bandusing Marko’s multitude of travelog photos, the images arewindows from the band’s living room onto a set of daydreams,scenes of impossible skies, external glances that illuminate what isgoing on inside. Each cover image comes with a matching colorvinyl. These too are all about looking out and looking back, in orderto better look ahead.

Ramona is a work of raw truth rendered in its most beautiful form. Melbourne-based Grace Cummings traveled to Los Angeles to work with producer Jonathan Wilson (Angel Olsen, Father John Misty) and dreamed up a lavishly orchestrated sound that fully accommodates the depth and scope of her vocal prowess. With its visceral reflection on grief, self-destruction and emotional violence, Ramona brings a stunning new grandeur to Cummings’ music while refusing to soften or temper its humanity!

Joe Pernice has been writing for a long time—most of his life, in fact—and has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. Who Will You Believemay be his most moving and nuanced album yet; it’s certainly his timeliest. “These songs were all written during the same time period,” he says, “and they all seemed to tap into a mood I was in at the time. I go through spells where I’m a certain way for three or four months. I might be more reticent than usual, or more outgoing. With all of my records—and especially with this one—the songs all feel like they belong together, probably because they all arrived during the same stretch of time.”

In a single six-month stretch he was left reeling from the deaths of three close friends, including David Berman, poet and songwriter for Silver Jews and Purple Mountains, and Gary Stewart, the Rhino Records co-founder and tireless Pernice Brothers supporter since their first album in 1998. “That was such a bad patch when David and Gary both took their own lives. And my cousin Joe Harvard, who started Fort Apache Studios in Boston and was like a brother to me—he died, too. It was such a tough year. I was thinking about them a lot and watching how divided America had become. I was doing my best to try and take nothing for granted.”

Pernice has been releasing albums for over 25 years. And with age comes a greater patience and an immense ap-preciation for the act of creation. Who Will You Believe showcases a beautiful balance between such sadness and moments of solemnity with warm humor and camaraderie.

On March 29, 2024, Shabazz Palaces’ two new mini-albums, Robed in Rareness and Exotic Birds of Prey, come out on CD and LP. Shabazz Palaces is masterminded by Ishmael Butler (Digable Planets), whose relentless drive to reimagine hip-hop – even as he enjoys his fifth decade on Earth – remains undiminished.

When Robed in Rareness hit digital platforms in 2023, NPR Music called it “enchanting and subversive," while Pitchfork observed that “the futurism of Shabazz Palaces has always been interwoven with the past and present, their songs scintillating tapestries of old-school shit talk, proggy psychedelia, and melodic flossing. Robed in Rareness is draped in this multiplicity as Butler and a team of close collaborators swagger across eras of rap.”

Exotic Birds of Prey furthers the modus operandi of Robed in Rareness: a respectful eye on the past, an embrace of an ever-evolving present, with its feet firmly planted in the future. Where Robed warped sounds like shoegaze and ambient music into the Shabazz Palaces multiverse, Exotic cross-pollinates these elements with twisted electro and funk vibes.

On March 29, 2024, Shabazz Palaces’ two new mini-albums, Robed in Rareness and Exotic Birds of Prey, come out on CD and LP. Shabazz Palaces is masterminded by Ishmael Butler (Digable Planets), whose relentless drive to reimagine hip-hop – even as he enjoys his fifth decade on Earth – remains undiminished.

When Robed in Rareness hit digital platforms in 2023, NPR Music called it “enchanting and subversive," while Pitchfork observed that “the futurism of Shabazz Palaces has always been interwoven with the past and present, their songs scintillating tapestries of old-school shit talk, proggy psychedelia, and melodic flossing. Robed in Rareness is draped in this multiplicity as Butler and a team of close collaborators swagger across eras of rap.”

Exotic Birds of Prey furthers the modus operandi of Robed in Rareness: a respectful eye on the past, an embrace of an ever-evolving present, with its feet firmly planted in the future. Where Robed warped sounds like shoegaze and ambient music into the Shabazz Palaces multiverse, Exotic cross-pollinates these elements with twisted electro and funk vibes.

The final album from Canadian punk rock legends Sum 41 album. Spanning 2 discs and 20 tracks, the album features the singles “Landmines” and “Rise Up”.’

Nine-time Grammy Award winner and 2023 Rock and Roll Hall Of Fame Inductee, Sheryl Crow, will release her 11th full length studio album, Evolution. The album comes as a welcomed surprise after Crow publicly stated that she would not release another full-length album after Threads (2018) and kicks off with her lead single “Alarm Clock,” which is perhaps Sheryl Crow’s most radio-friendly pop song since “Soak Up The Sun.”

Our fifth chapter is the one where we seek, savor, and settle. The muse found us in the depths of raising children, nurturing relationships, surviving a world-changing virus, bidding farewell, shifting our mindsets, and discovering a sense of peace heretofore unseen. Our third decade of life has proven to be one of routine, rest, and realization, and these songs are about the lessons we’ve learned. We’ve learned to be space-holders and defenders of the people we hold close. We’ve learned from deep, steady love in various forms. We’ve learned to let go of people and perceptions and priorities that just didn’t make the cut as we weighed what is right and important and worth keeping. We’ve learned how all the things we’ve always treasured continue to withstand the pressure of time. If you notice an upward trend to the mood and emotions, you’re on target-we have found calm waters, for now.- The Secret Sisters

Alice in Chains’ acclaimed Jar of Flies is being reissued in celebration of its 30th anniversary.  The EP made history as the first of its format to debut at No. 1 on the Billboard 200 in its first week of sales.  Hit tracks like "No Excuses," "I Stay Away," and "Nutshell", extended the group's popularity.

One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she's never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers's Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen.

And after years of being sober and stable in Kansas City - after years of sacrificing herself to her work and the road - Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse - an ethnologist of the self - forever dedicated to revisiting her wins and losses. But now she's arriving at revelations and she ain't holding them back. Produced by Brad Cook, the album features MJ Lenderman, Phil Cook, and Spencer Tweedy.

Gary Clark Jr.’s forthcoming album entitled JPEG RAW, his fourth studio release,
marks a grand step in his musical evolution…. A powerful and expansive artistic statement.

While retaining the deep and true resonance of his blues foundations and guitar virtuosity with subtlety yet conviction, he reaches well beyond this time.

The emphasis here is on song and studio craft without losing the rawness of his young legend. (Rolling Stone Magazine called him, The Chosen One).

The music is dense and adventurous with a more cohesive synthesis of his eclectic musical  palette.  Hip samples, Thelonious Monk and Sonny Boy Williamson decorate flourishes of African,  World Music, even Jazz while merging with blues , rock, R&B and rap; familiar areas he has ventured before, this time with more unity forging a fresh new style.  Clark’s lyrics are  pointed, deeply personal, outspoken and socially conscious with occasional forays into  rap and spoken word from Clark himself.  The sonics are immersive verging on modern groove-oriented psychedelia with hip-hop driven beats in verses giving way to anthemic choruses, rich with power-chording and wide fuzz riffage.

Songs like “Maktub”, “JPEG RAW”, “This Is Who We Are”, “Hyperwave” and the epic 10-minute Habits, break fresh ground defying categorization in the ever corporatized, predictable “alt” music world.  The co-written Stevie Wonder duet, “What About The Children” feels like an immediate classic that could have lived on Innervisions or Talking Book if not for Clark’s fuzzed out riff and hip-hop pocket.

Clark has always had swagger and sex in his sound and very dangerous hands when wielding 6 strings. JPEG RAW is all of that and breaks new ground that is both thrilling and inspiring on every level.

“New Blue Sun is the continuation of discovery for me. My entire career has been fueled by this and it is the only thing that keeps me honest. This album is the most honest and interesting offering I can give today. I never could have imagined in high school, when I started rapping and doing music that I would be here right now playing wind instruments. Ha. This life ride always surprises me. I’m here for it.” — Andre 3000

This limited edition 3-LP vinyl is pressed on 180g black vinyl with fold out poster, printed inner sleeves and note from the artist.

Marking 40 years of The Jesus And Mary Chain, ‘Glasgow Eyes’ was recorded at Mogwai’s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017’s ‘Damage and Joy’, becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK’s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. Jim Reid says, “But don’t expect ‘the Mary Chain goes jazz.’ People should expect a Jesus and Mary Chain record, and that’s certainly what ‘Glasgow Eyes’ is. Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes. And there’s a telepathy there - we are those weird not-quite twins that finish each other’s sentences.” ‘Glasgow Eyes’ not only extends The Jesus and Mary Chain's story, but feels simultaneously like a return to roots. From the incendiary ‘Psychocandy’ debut and its classic ‘Just Like Honey’ onwards, the Reid brothers steadily became the misfits who made good without compromise.

“I felt so much love and inspiration entering into motherhood that I just needed to create something really powerful,” explains Samantha Poulter, the Berlin-based DJ and producer, who grew up in the Sydney suburbs and better known to fans as Logic1000. That vitality and renewed sense of purpose is captured on her debut album Mother. The 12-track set is a laser-focused “love letter to house music,” written in collaboration with her husband and long-time creative partner Thom McAlister.

All Now emerges from a period of chaos for the band that was followed by a period of enforced quiet. The Staves released their third album, Good Woman, in February 2021; it was an album of love and loss, written during a disconcerting period of turmoil and pain. “There was a delayed reaction to trauma and these big changes out of your control,” says Jess of the period that came after Good Woman, as the band—like the rest of us—were forced to sit with their thoughts. 

The Staveley-Taylors were also still processing the death of their mother and other seismic changes: Emily took a backseat on this album (while still contributing vocals on a handful of tracks) to focus on motherhood, while Camilla reckoned with her own mental and physical health issues, including chronic pain and a series of operations due to endometriosis, which began to take an increasing toll.

Struggling after two years of deep solitude and pain following the release of Good Woman, The Staves did what they know how to do best: they got back to writing with the idea of going back to basics and focusing almost solely on each other and their guitars as a starting point.

It began with Jess, navigating this new landscape by harnessing her creativity on her own, at first in the studio in Hackney at the end of 2022, then slowly luring Camilla back to the next chapter of The Staves, before reaching out to Congleton, who the band had worked with on Good Woman.

"Recent years brought about for Julia Holter an existential focus on human connection, amid the staggering change that came with the death of loved ones (including her young nephew, to whom the album is dedicated) and the birth of her daughter. On Something in the Room She Moves, Holter vividly processes the complexity, gravity, and awe of this confluence of experience. She calls the music “sensual,” “flowing,” and “nocturnal”--a testament to how love, with all of its challenges, “reroutes neural pathways.” The cover art by Holter’s childhood friend, artist Christina Quarles, highlights the multiplicity of intimate connection: are the figures embracing or in battle?

The title Something in the Room She Moves came to Holter spontaneously as she was naming the Logic project file for an early demo. Coincidentally, a few months later, she found herself mesmerized by the eight-hour cinéma-vérité Beatles documentary Get Back in 2021. Her titular phrase flips the gaze of the Beatles lyrics (“Something in the way she moves…”); the woman is no longer passively observed, but actively augmenting space. Holter has loved the Beatles since childhood, but sees the title less as a tribute than as a semi-surreal bit of automatic writing from her subconscious.

After a string of dream pop albums that established her searching voice in independent music—from 2012 breakthrough Ekstasis to Loud City Song and Have You in My Wilderness—Holter released the thrillingly experimental Aviary in 2018. Since then, she has scored films like Never Rarely Sometimes Always, performed a commissioned live score for The Passion of Joan of Arc with the Chorus of Opera North, and collaborated with her partner, Tashi Wada, who plays on her new album. Something in the Room She Moves is a remarkable progression in Holter’s oeuvre, synthesizing her free, improvisatory energy with her signature eloquence."

Everything I Thought It Was is the highly anticipated new album from multi-talented entertainer, recording artist, record producer, songwriter and actor Justin Timberlake. This is Justin’s sixth studio album, and includes the first single “Selfish,” a pop infused offering driven by its infectious melodies and features the star’s iconic soulful vocals.

The music on Deeper Well, the seven-time Grammy winner’s fifth album, is almost chimeric. Rolling acoustic guitars, puffy clouds of strings and synth, warm bass punctuations, layered harmonies, moments of Celtic melody and plenty of room on the tracks for Musgraves’ silvery vocals. On the bright, almost folky title track, the 30-something songstress surveys her life and priorities, recognizing what feeds her, drains her and even examines the childhood she’s left behind on her way to now.

Saturn returns, cardinals embody a dead friend, love is given and taken, streets rush by, belongings are packed and old chapters deserted, new love blooms, jade bracelets serve as talismans, deep lessons emerge, small details define everything, the woods are a refuge and New York City serves as the same gleaming beacon as Oz.

The Black Crowes are leaving the bullshit in the past. Fifteen years after their last album of original music, the Robinson Brothers present Happiness Bastards - their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it's arriving at just the right time. Call it brotherly love or music destiny that brought them back together, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it's very best - gritty, loud, and in your face.

Since The Black Crowes reunited in 2019, they've made a triumphant return to form with over 150 shows spanning 20 countries worldwide, celebrating the 30th anniversary of Shake Your Money Maker, the album that put them on the map. Upon their return from the road, they knew they needed something new to show for their lost time. The Robinson Brothers and longtime bassist Sven Pipien headed to the studio with producer Jay Joyce in early 2023 and the experiences of years past transcribed themself through the music as the band found their way back to their roots. And it's finally here - Happiness Bastards is out March 15, 2024.

MUNA’s sophomore album, Saves The World has been reissued on vinyl due to popular demand. The album delivers the alt-pop anthems fans know and love including hits like “Number One Fan” and “Stayaway". Rolling Stone called it a “mastery of pop songcraft” and Pitchfork named it “pristine pop.”

The cheekiest band in the land is back with ROCKMAKER. Recorded at their studio gone funhouse The Odditorium in Portland, OR, the “Bohemian Like You” and “We Used To Be Friends” hitmakers get heavy amidst apocalyptic moods. Accompanied by guests Debbie Harry, Slash, and Pixies’ Frank Black, ROCKMAKER is the Dandy’s most succinct album yet, at no sacrifice to their outré leanings. 

Tierra Whack is a premiere rapper, musician and visual artist who is returning to the scene after a two-year gap in new releases. With collaborations with artists such as Beyoncé, Alicia Keys and Lil Yachty, Tierra has become a force to be reckoned with in the music industry. Her highly anticipated debut album, WORLD WIDE WHACK, is a follow-up to her critically acclaimed visual EP, Whack World. Tierra collaborated with fellow Philly native, conceptual artist, Alex Da Corte, on the visuals, artwork and creative elements of this album. Silver LP.

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner’s hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying—more memorable, more generative, more abundant—than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner!

No matter where his genre exploration has taken him, there’s something about growing up in punk and DIY spaces that puts collaboration in Boeckner’s blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It’s a jet-powered chase through a tech-noir cityscape—fueled by a dream and that special someone in the passenger seat.

That urgency and passion have always been a trademark of Boeckner’s, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he’s not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he’d found the perfect counterpart for his solo debut. “I’d been a fan of his forever, especially the Sunn0))) records he produced,” Boeckner says. “Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don’t normally weave into what I’m releasing—like occult synth, pseudo-metal, krautrock, and heavy psych influences.”

That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it’s charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain’s ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record’s atmosphere. That tense futurism was influenced by Boeckner’s time staying in Dunn’s Circular Ruin studio, a dusky, electronic aura burned into every track.

By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

Legendary musician and multi-disciplinary artist Kim Gordon returns with her second solo album, The Collective, which will be released March 8th on Matador. Recorded in her native Los Angeles, The Collective follows Gordon’s 2019 full-length debut No Home Record and continues her collaboration with producer Justin Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor), with additional production from Anthony Paul Lopez. The album advances their joint world building, with Raisin’s damaged, blown out dub and trap constructions playing the foil to Gordon’s intuitive word collages and hooky mantras, which conjure communication, commercial sublimation and sensory overload.

"On this record, I wanted to express the absolute craziness I feel around me right now," says Gordon. "This is a moment when nobody really knows what truth is, when facts don’t necessarily sway people, when everyone has their own side, creating a general sense of paranoia. To soothe, to dream, escape with drugs, TV shows, shopping, the internet, everything is easy, smooth, convenient, branded. It made me want to disrupt, to follow something unknown, maybe even to fail."

Luke Grimes self-titled debut album on Mercury Nashville features 13 tracks, including “Burn,” “Hold On,” and “Oh Ohio.” Known for his role as Kayce Dutton on the hit television series Yellowstone, Grimes has been making music for years. He closed out 2023 with a sold-out tour after playing fairs and festivals around the country, including Stagecoach, Pilgrimage Music & Cultural Festival, Under The Big Sky Festival, and more. Grimes grew up playing music in church as the son of a Pentecostal pastor. His father also laid the foundation for the music he loves, introducing him to the works of Johnny Cash, Merle Haggard, Willie Nelson and Waylon Jennings.

Moor Mother is an American musician, poet, and interdisciplinary artist known for her avant-garde and experimental work. The Great Bailout is an expansive meditation that acts as a non-linear word map about colonialism, slavery, and commerce in Great Britain. Featuring guest contributions from Lonnie Holley, Angel Bat Dawid & Sistas of the Nitty Gritty, Vijay Iyer, Mary Lattimore, and more, it’s Moor Mother’s most uncompromising vision to date.

Moor Mother has gained recognition for her unique blend of spoken word, noise, and electronic music, addressing themes of race, gender, and socio-political issues. She hails from Philadelphia and has been an influential figure in the city’s vibrant arts and music scene. She has received critical acclaim for her albums, with reviewers praising her fearless approach to sound and her thought-provoking lyrical content on albums like “Jazz Codes” and “Analog Fluids of Sonic Black Holes”, showcasing her boundary-pushing sonic experiments.

Following acclaimed Topical Dancer album with Charlotte Adigéry, here comes Letter To Yu, Bolis Pupul’s debut solo album, produced by fellow Belgians, Soulwax. It’s no coincidence that Bolis Pupul’s music sounds the way it does. Born in Belgium to a Chinese mother and Belgian father and raised in Ghent, Bolis’ electronica is a joyous cross-cultural assemblage. The creation of the album is built around Bolis’ trip to Hong Kong earlier this year, made to reconnect with his mother’s roots.

Pissed Jeans has never been a band that goes halfway—they’re known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette’s scowl, everything takes on a level of violent absurdity.

Pissed Jeans’ notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On “Seatbelt Alarm Silencer,” Korvette growls, “Call it a death drive but that ain’t fair / Drive implies I’m headed somewhere.”

Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren’t in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. “We’re not the kind of band that bangs out a new record every two years,” Korvette said. “Pissed Jeans is truly like an art project for us, which is what makes it so fun.” This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory—often coming in at under two minutes long and erupting like the “butane tank explosion” Korvette sings about in “Junktime.”

In the last song, “Moving On,” Korvette sneers, “Cheesing into my camera phone / Pretending that I’m not alone / Life’s the first thing that we all postpone.” One gets the sense that Pissed Jeans refuses to “postpone” life in quite the same way—life, like art, is something that happens now, not later.

Liam and John have been friends for years but when Liam invited John to join him on stage at Knebworth in 2022 it reignited a long-running ambition of writing and recording an album together. The demos were written at John's home studio in Macclesfield and then recorded with legendary producer, Greg Kurstin and mixed by Spike Stent. Joey Waronker (Atoms for Peace, Beck, R.E.M.) plays drums on the album.

Faye Webster’s songs are direct lines to the human subconscious, and Underdressed at the Symphony documents what happens once you begin to build a new self from the ashes of your old routines. This rebirth isn’t flashy or definitive, but is instead a series of seemingly mundane moments that, scattered across weeks and months, sneak their way toward something like healing. Yes, there’s a breakup in play, but Webster is not documenting the heartbreak of a breakup so much as she’s navigating the contours of heartbreak itself.

Recorded at Sonic Ranch Studios in Texas with her longtime band, Webster is accompanied on Underdressed at the Symphony by Matt Stoessel’s arcs of shimmering pedal steel, the plaintive, unhurried drums of Charles Garner, and, occasionally, additional guitarwork from Wilco’s Nels Cline, among many other crucial players. The title of the album refers to Webster’s post-breakup compulsion to visit the symphony on a whim, usually buying a ticket at the last possible second. “Going to the symphony was almost like therapy for me. I was quite literally underdressed at the symphony because I would just decide at that moment that that's what I wanted to do,” she says. “That's what I felt like I needed to hear. I got to leave what I felt like was kind of a shitty time in my life and be in this different world for a minute.”

That strain of lightheartedness with a melancholic backbone permeates the album, and is the major driving force behind “Lego Ring,” which features Atlanta multi-hyphenate Lil Yachty, the only guest voice on the entire album. Yachty’s ghostly warble floats just under Webster’s voice, jabbing through empty space, trembling over a low rumble of bass. The song is also a sort of release—a buoyant moment that cuts through the sadness. “I think I hit a point in songwriting during this record where I was just like, man, I said a lot.” Webster says. “I'm just going to sit down and sing about this ring that I really want. ”Like the rest of the album, Webster isn’t providing answers, nor is she on some epic journey of healing and self-care. Instead, she’s choosing to just live, to document heartbreak and ridiculous moments right next to each other, until they start to blur together, becoming real enough for us all to feel.

Mannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. “There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ,” says Dabice. “The ethos of this band has always been to bring people together.”

Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band’s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.

Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band’s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home. “Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be,” says Regisford.

Playing Favorites is Sheer Mag’s third full-length and first with Third Man Records, the band capitalize on a decade’s worth of devotion to their own collective spirit—a spirit refined in both the sweaty trenches of punk warehouses and the larger-than-life glamour of concert halls—emerging with a dense work of gripping emotions, massive hooks, and masterfully constructed power-pop anthems. This is the record the Philadelphian rock and roll four-piece has always been destined to make. 

KULA SHAKER's new album 'Natural Magick' finds the band harnessing the power to cast their most potent spell yet, incorporating blazing psychedelic sermons, raga rave-ups, stardust-coated pop pearls and mood-enhancing mantras. "This chapter in the band's life is very much driven by live energy and that spiritual connection with the audiences which comes with it. We all agreed that the songs should be no longer than three minutes. There are no epics." (says Crispian) Reformed permanently in 2021 due to the return of keyboard wizard Jay Darlington, reuniting all four members of the band's classic line-up for the first time since 1999.The band became UK chart-toppers with 1996's debut album 'K' and '99's follow-up 'Peasants Pigs & Astronauts' saw them push the creative envelope prior to their premature dissolution. Having made a welcome return in 2007 with the self-funded 'Strangefolk', Kula Shaker have built towards the sonic summit.

Hurray for the Riff Raff (aka Alynda Segarra, they/them) announces their new album, The Past Is Still Alive, due February 23, 2024 on Nonesuch Records. The record represents a new phase of beginning in Segarra’s lauded evolution as a storyteller. Created during a period filled with grief, when they found inspiration in radical poetry, railroad culture, outsider art, the work of writer Eileen Myles, and the history of activist groups like ACT UP and Gran Fury, discovering a stronger, singular style of writing that felt like a long-awaited revelation. In each song, lyrics serve as memory boxes for Segarra to process their trauma, identity and dreams for the future. Segarra uses their lyrics as a way to immortalize and say goodbye to those they have loved and lost, to illustrate the many shapes and patterns of time’s passing, and honor both the heartbroken and the hopeful parts of themselves. Though the record was made in North Carolina and produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee), the Bronx-born, New Orleans-based Segarra brings listeners to places far beyond, evoking vivid experiences of small shops and buffalo stampedes in Santa Fe, childhood road trips and Florida storms, struggles of addiction in the Lower East Side, days-long journeys to outrun the cops in Nebraska, and more. 

The followup to their acclaimed Nonesuch debut, Life on Earth—which landed on Best of 2022 lists from the New York Times, Rolling Stone, NPR Music, Mojo, Uncut, among others—The Past Is Still Alive sees Hurray for the Riff Raff reunite with Brad Cook, while further expanding their creative cast of collaborators. Anjimile, Conor Oberst and S.G. Goodman all join Alynda Segarra on vocals at various points throughout the LP, with a band of musicians including Cook, Libby Rodenbough, Matt Douglas, Meg Duffy of Hand Habits, Phil Cook, Yan Westerlund and Mike Mogis, who also mixed the album. 

The “nature punk” of Life on Earth marked a departure for Hurray for the Riff Raff, as they contemplated surviving and thriving amidst a world in crisis The Past Is Still Alive brings the focus back inwards. The arrangements are raw, the melodies direct and indelible, and the lyrics personal, yet largely rooted in family and community. There are love songs to real characters, locations and mythic figures like Sky Red Hawk (“Buffalo”), the first trans woman Segarra ever met (“Hawkmoon”), queerness and sacred spaces (“Colossus of Roads”), leaving home behind (“Snake Plant”), short-lived romances and the wisdom gained through chaos (“Vetiver”). Elsewhere, in the self-portraits painted on “Alibi,” “Ogallala” and other album highlights, Segarra reflects on the land they have traveled, the hardships witnessed and bravery gained while running away from everything and everyone they knew at age seventeen, hopping freight trains and hitchhiking across the country with a band of street urchins. 

In recent months, Hurray for the Riff Raff debuted a stage adaptation of their beloved 2017 album, The Navigator, based on their quest to reclaim their Puerto Rican identity. They also toured with Bright Eyes and First Aid Kit, performed for the Late Show with Stephen Colbert and NPR Music’s 15th Anniversary Concert, played festivals like Pitchfork and more. Next spring, they will bring the music of The Past Is Still Alive on the road, for a headline tour across the US, UK and EU, that they have partnered with PLUS1 so that $1 per ticket goes to supporting This Must Be the Place and their work to distribute Naloxone - the lifesaving medicine that reverses an overdose – at events across the nation.

Real Estate’s sixth full-length album Daniel was recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood.

Martin Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start.

Several days into recording, all five members of Real Estate were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely.

Dume is a 16-song album (2 LPs) by Neil Young with Crazy Horse from 1975, recorded during the Zuma recording sessions. It includes tracks and outtakes from Zuma. This album is included as CD #8 CD in Neil Young’s Archives Volume II. This is the debut release on vinyl. The D2C/Indie format includes a litho of the album cover.

Offering fuzzy grunge-pop with doses of shimmering synths and emo angst, Ned Russin co-fronted Title Fight before halting in 2018 & Ned began playing music as Glitterer. Now a full band, Glitterer returns with Rationale combining 90s grunge, capital-R riffs a la The Stooges, & a keyboard lead that gives self-depre-cating melodrama., After relying more on synths for the entirely solo, home-recorded Glitterer LP in 2017, he involved collaborators on the crunchier Looking Through the Shades in 2019. This trend toward driving indie rock grit with ‘90s influences continued on 2021’s Life Is Not a Lesson and now Rationale.

For the first time ever, BTS’ highly successful mini album Love Yourself 轉 'Tear' is now available on vinyl! Featuring the group’s hit songs “FAKE LOVE” and “The Truth Untold (feat. Steve Aoki),” Love Yourself 轉 'Tear' landed on the top of the charts across the globe upon its original release in 2018. Contents of this vinyl album package include a 12” Vinyl, Outer Sleeve, Booklet, Hologram Photo Card Set (incl. 7ea), Post Card and Sticker Set (incl. 2ea). Product Dimensions: 316 x 316 x 6 mm.

“I’ve been wanting to make a record like this for a long time. The band, Franny and I produced it ourselves in my living room with no adults present. It’s all acoustic, not an electric lick on the album…banjos and mandos and string basses and stripped-down drums. I put a ton of work into the tunes and I’m pretty proud of this batch. Had a little help from my old co-writing pal Jaida Dreyer on a couple, also wrote a good one with my screenwriter buddy, Brian Koppelman. Lots of gambling songs and lots of minor keys. And my band guys absolutely killed it too, they’re all badasses.

I’m dedicating the record to my old compadre, Ian Tyson, who passed away a few months back. I’ve named the album for him as well. ‘El Viejo’, or ‘the old one’ is what our mutual friend Tom Russell took to calling him in later years. The title track is a pretty special one for us.

We had a blast making this thing, and we hope you enjoy it too.” 

- Corb Lund 

REMO DRIVE, the longstanding project of brothers Erik and Stephen Paulson, want you to feel something. Following a six-year run of pristine emo-influenced rock ‘n’ roll records comes Mercy, the band’s fourth album and third for Epitaph. It’s the band’s most lyric-focused offering to date, a record about reinvention, trusting yourself, and wearing your heart on your sleeve even when it’s painful or vulnerable.

Sonically, Mercy is also a major departure for REMO DRIVE. It’s less indebted to the emo and pop punk that foregrounded the duo’s career and instead invested in thorny, baroque indie pop byway of Father John Misty and Fleet Foxes. It was produced by Phil Ek, a legendary Seattle-based indie rock producer who has previously worked with those two bands as well as the Shins and Band of Horses, among others. REMO DRIVE worked with Ek over the course of ten days. “It was refreshing to work with Phil,” says Erik, “It made music feel like how it did when we were younger. He was like fuck it, let’s go, let’s have fun.”

Mercy is a study in intimacy, in being real with yourself, in entering an exciting new creative chapter where you are making the art you really want to make. That’s where REMO DRIVE is today.

I DONT KNOW HOW BUT THEY FOUND ME's second album, GLOOM DIVISION, is a glimpse into the mind of Dallon Weekes. Produced by Dave Fridmann (Tame Impala, MGMT), the album is the follow-up to iDKHOW’s Razzmatazz (ft. the #1 Alternative Radio single "Leave Me Alone"), & an EP ft. the gold record "Choke.” The most autobiographical work to date from Weekes (formerly of Panic! At The Disco), GLOOM DIVISION leaves listeners with the same sense of euphoric fascination that sparked the album’s creation.

Sir Rod Stewart and Jools Holland with his Rhythm & Blues Orchestra present the exquisite Swing Fever - a 13-track sparkling salute to the timeless songs of the big band years, reignited by two giants of their craft.
For the first time, Britain's new partners in swing have united on record to share their peerless dexterity on a tribute to such truly great songs as 'Ain't Misbehavin’, 'Frankie And Johnny’, 'Sentimental Journey' and 'Lullaby Of Broadway’.

Based on the 2018 Broadway musical adaptation of the 2004 film, the MEAN GIRLS soundtrack features songs from a number of the movie’s stars including Reneé Rapp as Regina George, Angourie Rice as Cady Heron, Auli’i Cravalho as Janis ‘Imi’ike, Avantika as Karen Shetty, and more. Also featuring the single “Not My Fault” by Reneé Rapp with rap superstar Megan Thee Stallion.

The Vault: Old Friends 4 Sale is a collection of previously unreleased songs from Prince’s legendary vault that was released by Warner Bros. Records in 1999, shortly before the release of his studio album Rave Un2 the Joy Fantastic with the brief liner note: "The enclosed material was written during the period beginning 1/23/1985 and ending 6/18/1994 and was originally intended 4 private use only."

Post Malone - The Diamond Collection - Rap/Hip-Hop - 2 LP Vinyl

2 LP set on metallic silver vinyl.

Global superstar Post Malone holds the record for most RIAA Diamond-certified singles in history. The Diamond Collection is a compilation of his top hits to date, including "Congratulations (feat. Quavo)," "Sunflower" with Swae Lee, "White Iverson," and more. The physical release includes the Diamond-certified hits as well as additional tracks. 2 LP set on metallic silver vinyl.

Legendary indie-rock band Grandaddy has announced a brand new studio album Blu Wav set for release February 16, 2024 via Dangerbird Records. A prolific storyteller, Jason Lytle is inspired by the overwhelming beauty of nature to the mundane moments that spark life’s strongest memories. Introducing pedal steel into the band’s repertoire for the first time, buoyant lead single “Watercooler” comments on the dichotomy of both. It was inspired by having his own outdoorsy rock guy (in both senses of the word) lifestyle while his partner had an office job. Lytle shares, “Most of my relationships have involved girls who worked in office settings. This song is about the end of one, or perhaps a few, of those relationships. Listeners will also notice the pedal steel on this track and eventually on many others from the forthcoming new album. It’s a first for Grandaddy, and I couldn't be more thrilled about this fact.” With the album title Blu Wav meant to be a literal mash-up of “bluegrass” and “new wave”, the new collection has a distinct feel, a uniform vibe, and a somewhat unexpected sound. It was conceived as Grandaddy maestro Jason Lytle was driving through the Nevada desert, and Patti Page’s "Tennessee Waltz" came across the classic country station on the radio. He was immediately intrigued by the possibilities of what it might sound like to keep the slow sway and sweet, simple lyrics of the bluegrass waltz while adding layers of dense synthesizers and the electronics of new wave. It incorporates the lo-fi lushness and sometimes-psychedelic orchestration Grandaddy is known for with Lytle’s first foray into true country. Seven of its 13 songs are waltzes, and as Lytle notes, “there’s an inordinate amount of pedal steel.” Grandaddy recently celebrated their legacy with a series of 20th anniversary reissues including the acclaimed Sumday Twunny box set which earned a Pitchfork ‘Best New Reissue”. Lytle also contributed vocals to a posthumous Sparklehorse album by request of his friend and fellow psychedelic pop auteur Mark Linkous’ family. Grandaddy has released five official LPs, most recently 2017’s Last Place. Grandaddy members include Jason Lytle, Aaron Burtch, Jim Fairchild, Tim Dryden, and the late Kevin Garcia, who passed away in 2017.

Lil Peep - Crybaby 1st Press 45rpm - n interviews that followed the release of Crybaby, and even afterwards during press runs for HELLBOY as well as Come Over When You're Sober Pt. 1, one of the most consistently asked (and answered) questions that would be thrown at Peep usually teetered around the lines somewhat of "aye Peep, love what you've been doing with your past couple of projects man, but what's the deal with that massive Crybaby tattoo you got on your forehead?" - To which, he would typically answer, "I got the Crybaby tat to keep me grateful, to remind myself that even if I'm going through a lot, there are kids across the world that don't even have clean water or know when their next meal will be, so I got it to remind myself that I need to be grateful for what little I have, and to keep pushing through for those who can't." - With this context now surrounding the whole ethos of this project, it seems fitting that the whole mixtape essentially focuses on Peep's hopes, dreams, and overcoming the emotions that ever so powerfully bled through nearly every song on here one way or another. Whether it's through the haunting coke lines on "Lil Jeep" and the Radiohead-sampled "Falling 4 Me", or through the ambitious glimpse into the future that initially got him signed in the first place with the Smokeasac-produced signature track "Nineteen", he flips blatant samples and turns them into his own songs. For example, there's a borderline "Wonderwall' cover (and hear me out on this one) in the shape of "Yesterday," where he paints a bleak picture of getting out of a toxic environment with the chorus "Change my name, shave my head // Tell my friends that I'm dead, run away from the pain // Yesterday is not today, it's not the same," that winds up adding to the source material more often than it taking away anything. - More notably though perhaps, is that he never conveys a sense of giving up when singing/rapping about any of these topics, and that only aids the sense of triumph found in moments all throughout the record. While it may seem like Peep is promoting all of the wrong things, what people don't seem to realize is that he never condones it; it's almost as if he's telling the listener to not make the same mistakes as he did, which eventually led to his untimely death just over a year later.

"On RAT WARS, HEALTH, are not only making the heaviest, most genre-obliterating music of their career, they’re documenting just how insane it feels to be alive right now. It’s The Downward Spiral for people with at least two monitors and a vitamin D deficiency. “RAT WARS” is a definitive statement on the insanity and the insipidness of contemporary life. "

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic–the longest downtime in their history–they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies.

Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That’s why Omni called the album Souvenir: it’s a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems.

Take “Plastic Pyramid,” the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it’s a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener “Exacto,” a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as “Exacto, de facto, concise, quite right”–a line that could well be an Omni mantra.

The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos’s vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers.

You might notice that Frobos’ singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite–the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni’s songs, and this time, it comes in shades of both dark and light. In “Granite Kiss,” an “astronomical” love story concludes with the hope that “we can decay together,” while in “PG,” a romantic walk in the park includes a rose-colored mugging.

Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake–a set of songs that you’ll want to keep close, an aural memento you'll cherish for the rest of time.

Voir Dire, the momentous album by Earl Sweatshirt and Alchemist, undoubtedly represents the long-awaited convergence of two rap titans. Earl's personal and intricately woven wordcraft, along with Alchemist's treasure trove of obscure, captivating samples, combine to create an artistic chemistry that permeates "Voir Dire" (which translates from French to "Speak Your Truth"). Earl accomplishes just that as he delves into the analysis of specific phases of his life, particularly in the past where his reflections resonate with immense potency, meticulous detail, and profound insight. The album features notable Los Angeles wordsmith Vince Staples on two tracks and esteemed rap artist, MIKE. On Voir Dire, unmatched lyricism and remarkable maturity take center stage, while personal experiences such as new fatherhood emerge and evolve over stripped-down, spacious Alchemist production — culminating in what many consider to be the best rap album of the year.

Usher has changed music, culture, and countless lives. The multiple GRAMMY Award-winning diamond-selling international megastar, actor, dancer, entrepre- neur, and philanthropist inspires change yet again in 2023 and beyond. Selling over 80 million records worldwide and collecting dozens of awards, he has simultaneously lit up the small screen on NBC’s The Voice and the big screen in blockbusters such as Hustlers. He has also tirelessly distinguished himself as a devout humanitarian, raising tens of millions of dollars for various causes and uplifting youth via his New Look Foundation. Since 1999 he has been providing opportunities for young people in underserved communities and enabling them to flourish and achieve seemingly impossible dreams. A true outlier, he is equally at home on the stage of his sold out My Way Las Vegas residency as he was on a 2016 government cultural mission to Cuba as part of President Barack Obama’s Presidential Committee for Arts and Humanities. This album marks the creative reunion of Usher and L.A. Reid, who haven’t worked together since 2004’s Diamond certified Confessions. The album was mainly recorded in Atlanta, GA with many of Atlanta’s hottest producers including Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile among many others.  USHER is the 2024 Apple Music Super Bowl LVIII Halftime Show Performer.

There’s a double meaning to the title of What Now, the revelatory new album from Brittany Howard. “With the world we’re living in now, it feels like we’re all just trying to hang onto our souls,” says the Nashville-based musician and frontwoman for four-time Grammy Award-winning Alabama Shakes. “Everything seems to be getting more extreme and everyone keeps wondering, ‘What now? What’s next?’ By the same coin, the only constant on this record is you never know what’s going to happen next...”

TANGK is, at its core, a love album. Open to anyone who requires something to shout out loud in order to fend off any encroaching sense of the void, now or forever. TANGK is a bona fide pop record in a way we’ve never heard from IDLES before, that is, something for everyone to pass around and share, communal anthems intended for overcoming our grievances. The word - pronounced “tank” with a whiff of the “g” - began as an onomatopoeic reference in-studio for the sound of a guitar tone, but has grown into a sigil for living in love. Joe sings on TANGK in a way we’ve never heard before, completing his transformation from post-punk firebrand into soul singing evangelist. TANGK was co-produced by Nigel Godrich, Kenny Beats, and IDLES guitarist Mark Bowen.

Grief Chapter is an album with songs rooted in mortality, grief, and living fearlessly. Tracks like “Nobody Escapes,” “To My Heart,” and “Head Shrink” are sure to ignite their devoted legion of fans, and undeniable alt-rock anthems “Explode!,” “Days,” “Normalize” and “The Matrix” will sound at home on festival stages and amphitheaters they’ll be headlining in the US next summer.  The album was produced by Mother Mother frontman Ryan Guldemond, and mixed by the revered Rich Costey.

You may think you know the story of Jennifer Lopez, one of the most written about women in the world, but This Is Me…Now shares the real story, a piece of her soul, and she is doing it in her own inimitable style. Jennifer Lopez’s long awaited musical experience THIS IS ME…NOW begins with the release on February 16th, 2024 of This Is Me…Now: The Album and This Is Me…Now: The Film inspired by the music. The album, written and produced by Jennifer Lopez and Rogét Chayed, along with Angel Lopez, Jeff "Gitty" Gitelman, HitBoy, Tay Keith and INK among others, effortlessly blends R&B, contemporary pop sounds and hip-hop beats. Her signature vocals, combined with intricately crafted lyrics delve into the highs and lows of life, love, and relationships with unflinching honesty and introspection, making this Jennifer Lopez’s most honest and personal album yet. 

10th Anniversary Expanded Deluxe Edition of The Marshall Mathers LP2. It features 11 bonus tracks, including B- sides and instrumentals. Originally released on November 5, 2013, the album serves as a sequel to The Marshall Mathers LP released in 2000. It features the singles “Berzerk,” “Survival,” “Rap God,” “Headlights” and “The Monster,” which reached #1 on the Billboard Hot 100. The album won Eminem a record sixth GRAMMY Award for Best Rap Album and is now certified 4x platinum. 4 LP set on 180g black vinyl.

Kali Malone’s anticipated new album “All Life Long” is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L’Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.

Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages.

Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.

All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony.

The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamban’s essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs.

This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

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

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

The highly anticipated follow up to Zara Larsson’s 2021 album Poster Girl, comes new album VENUS. It includes singles “Can’t Tame Her, and “On My Love” with David Guetta, both of which hit #1 at US Dance Radio. With its elevated sound, eclectic style and unifying visuals, VENUS verifies Zara Larsson as one of modern pop’s most essential stars.

David Nance & Mowed Sound, the first album by Nance to be released on Third Man Records, cuts deep. Memories sprout back, like the sounds of a great rock song blasting from the neighbor’s truck as it revs away into the night. There is a definite connection to the past, but the swinging guitar boogie and snarled blues you might expect from Nance and company sounds leaner and completely hypnotic. What remains are 10 tracks from a well-oiled group so rhythmically together that the songs on the album seem as connected as links in a chain.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, “J's week beats your year.”

What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. “When I'm writing for the band,” he says, “I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened.”

Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, “Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. [laughs] Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones.”

Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on “I Can't Find You,” where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew “Doc” Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, “Your Feel,” he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads.

What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly recognizable approach to making music.

So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him.

–Byron Coley

“The band was once described as a 'fucking nightmare' to be around, whilst we are lovely people we do embrace the chaos that comes with all of this so found it fitting to title our next album as such. The songs themselves mainly follow this theme but relate to all aspects of life. Lyrically, it is more of the same... no metaphorical meanings, no fantastical story telling, no pretentious bollocks.... Just tales of a life lived as it will always be.”

To celebrate the 50th anniversary of the 1973 album, Band On The Run, this special edition was cut at half-speed on 180g vinyl using a high-resolution transfer of the original master tapes by Miles Showell at the legendary Abbey Road Studios. This tracklist mirrors the U.S. release which includes the song, “Helen Wheels.” Also included is a reproduction of the Linda McCartney Polaroid poster.

The second of two limited edition box sets that are a comprehensive, chronological overview of The Rolling Stones’ early career as chart toppers. Contains 18 authentic reproductions of the original 7” 45 RPM singles in full color picture sleeves, a 32-page book with extensive liner notes by Rolling Stones authority Nigel Williamson, plus set of 5 photo cards and a poster, all housed in a hard-shell box.  

Features the rare 1971 Decca “Street Fighting Man” maxi-single, non-LP B-sides “Long Long While,” “Who’s Driving Your Plane?” and “Child Of The Moon,” and rare mono mixes of “We Love You” and “Dandelion,” which are exclusive to the single release. Mick Jagger’s “Memo From Turner” and the Ry Cooder instrumental “Natural Magic” from the film Performance, as well as the Neptunes and Fat Boy Slim remixes of “Sympathy For The Devil” are also included. 

A 4-LP set, Music Box: 30th Anniversary Expanded Edition presents the original album Music Box in its entirety on Disc One with the noteworthy addition of "Everything Fades Away" (previously available only as an international bonus track).  Discs Two and Three premiere a variety of previously unreleased tracks including "Workin' Hard,""All I Live For (Extended Version),""My Prayer,""Hero (2009 Version),""Anytime You Need A Friend (Extended Mix,") "Music Box (A Capella)"and two live performances from Top of the Pops: "Dreamlover"and "Without You." Disc Two also includes Mariah Carey's duet with Luther Vandross on "Endless Love"as well as two brand new remixes from Grammy Award nominated DJ Terry Hunter: "I've Been Thinking About You"and "Workin' Hard."  Disc Four, "Mariah Carey Live at Proctor's Theater, NY - 1993" presents Mariah's complete showcase for the first time and features eight previously unreleased concert performances.  (The Proctor's Theater performances of "Hero"and "Dreamlover"are the only two previously released tracks from the concert.)

Mellow War is Taylor McCall’s 2nd studio album and first production project. This album was co-produced by Taylor McCall and Sean McConnell. This album features Taylor’s late grandfather during his days in Vietnam on the cover as well as the intro track, “Sinking Sand”, from his days as a pastor. His mother also is singing in the choir. Mellow War explores the balance of good and evil, destruction and healing and the importance of having faith in the darkest of times.

From the Dolls-meets-the-devil opening title track to the desperate Sister Lovers-adjacent finale "The Findings," The Interrogator is thirteen vibrant, crackling, scary and hilarious songs which taken together represent nothing less than a thorough and thrilling moral inventory of our decadent and depraved times. Following up and doubling down on the themes of last year's lionized cult favorite For Executive Meeting, Elizabeth Nelson has authored an album as politically potent and pointedly hilarious as antecedents like The Mekons’ Rock 'n' Roll and Neil Young's on On the Beach and wed it to the sound of ZZ Top's Eliminator. As writers like Rob Sheffield and Robert Christgau have known for years Elizbeth Nelson has been one of our very best songwriters for going on a decade. On the charged anthem "Bad Day for the Group Chat" she reassesses the current state of affairs: "I have bested all my peers.”

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES (MUSIC FROM & INSPIRED BY) IS THE OFFICIAL SOUNDTRACK TO THE HIGHLY ANTICIPATED NEW FILM IN THE HUNGER GAMES SAGA. THE SOUNDTRACK WAS EXECUTIVE-PRODUCED BY NINE-TIME GRAMMY®-WINNING PRODUCER DAVE COBB (CHRIS STAPLETON, BRANDI CARLILE, STURGILL SIMPSON) AND FEATURES “CAN’T CATCH ME NOW”, WRITTEN AND PERFORMED BY OLIVIA RODRIGO.

Maddie’s 2022 EP, You Might Not Like Her, marked the end of a chapter for Maddie at the same time it marked a beginning for her fans, a teeter-totter of an experience for the singer-songwriter who, at the time of its release, had moved on to writing a new body of work about a new chapter in her life. Having left behind the Boise church community where she long served as a worship leader to move to Los Angeles where she came out as queer and explored what that meant to her for the first tangible time, inspiration was flowing at a moment when some of her most meaningful songs were bringing her back to the past she’d left behind. “It was such a weird whiplash to see people connecting with those songs on such a deep and meaningful level knowing that I’d already processed everything within them months and months ago,” she says. “It was like everyone listening to the songs I was performing was 12 months behind my own healing process – and it was even wilder performing them knowing that I had so many more, newer stories I was just waiting to be able to share.”

Now That I’ve Been Honest lays bare those stories in chronological order, a raw, triumphant, honest and refreshing personal story in her debut album that signals the arrival of one of music’s most important new voices. As sonically textured and layered a debut you’ll find, Now That I’ve Been Honest professes to be a coming-of-age story detailing Maddie’s life since moving to Los Angeles, while continuing to build upon the sound foundation of her early work and the community she’s created and fostered in her music. “The EP was me in a lot of ways deconstructing who I was,” she says. “The album is me saying, ‘Well, now that we've gotten that taken care of…’” The digital album was released October 20th.

TWS - TWS 1st Mini Album 'Sparkling Blue' (Lucky Ver.) - K-Pop CD

New K-Pop Boy Group out of PLEDIS Entertainment has officially debuted! TWS (24/7:WITH:US) is here with their first mini album titled `Sparkling Blue' - available in 2 versions: Sparkling and Lucky. Consisting of 6 members, the concept of TWS is sparkling, non-toxic and friendly with refreshing and catchy music. Contents include: CD, Outbox, Photo Book (120 pgs), 2 Stickers, Polaroid, Name Tag, Photo Card (random 1 of 6). US/EU Retail Exclusive: Group Postcard.

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

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

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

Blue Raspberry is Katy Kirby’s follow up to her renowned debut album Cool Dry Place, which came out in February 2021. Singer/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G.

That record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; Blue Raspberry, made with the same band and producers (Logan Chung and Alberto Sewald) , hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like ‘Redemption Arc’ and the title track ‘Blue Raspberry’, and lyrically she explores themes of loss and queer love. Very few are able to capture the same emo- tional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record; standout ‘Drop Dead’.

Bursting out of Detroit Rock City and hailed by The Michigan Daily as "the past, present, and future of rock n' roll," Mac Saturn has grooves at its heart, playing with a buoyant energy that makes dancing a command rather than an option. As drummer-turned-frontman Macc -- who sings everything with the assurance and swagger that’s as much Harry Styles as Mick Jagger -- puts it: “The songs are rock, but they’ve got that other thing going on — that funky, dancey, Motown, whatever you want to call it — that makes them our own thing.”

The six-piece covered a lot of ground on its last year's debut EP Until the Money Runs Out, from the hip-swiveling “Diamonds” and “Mr. Cadillac” to the urgent punch of “Persian Rugs." Since then, they've become known for their electrifying live shows that harken back to the glitz and glam of 70s rock stars. Their own sold-out headlining shows are packed with fans singing along with every word - even to songs that haven't been released yet - and their tours with The Struts and Dirty Honey have only inspired more people to enter Mac Saturn's orbit.

A vibrant and irresistible earworm, "Mint Julep" is the first single off their upcoming debut album, Hard To Sell (releasing January 2024). The album was produced by The Rust Brothers - aka Al Sutton, Marlon Young, Herschel Boone - at Rust Belt Studios (Greta Van Fleet, Electric Six, Mark Foster) and mastered by Bill Skibbe (Jack White, Franz Ferdinand, Wallows).

Blood, Hair, And Eyeballs - Alkaline Trio / New album produced by Bill Stevenson of All, Descendents, Black Flag, whose credits include As I Lay Dying, Rise Against, NOFX, Against Me! And many more-Guest appearance from Tim of Rise Against! - Alkaline Trio

Frank Carter & The Rattlesnakes return with their fifth studio album, 'Dark Rainbow' - set for release on 26 January 2024. The Rattlesnakes have built a reputation for blistering anthems that owe as much to brooding desert rock as it does hardcore and power-pop. They’re redefining punk-rock with a sound that straddles eras and genres, putting The Rattlesnakes in a category all their own, while also challenging tired cliches and setting the world to rights.

Remastered reissue of acclaimed singer-songwriter John Moreland's sophomore album, In The Throes (2013), featuring "Break My Heart Sweetly" and "3:59 AM"

Introducing Office Dog, hailing from Otepoti/Dunedin and residing in Tamaki Makaurau/Auckland. The trio, led by Kane Strang on guitar/vocals, alongside Rassani Tolovaa on bass and Mitchell Innes on drums, present their debut album Spiel — out January 26, 2023 via New West Records Records. Assembling intricate musical collages, Office Dog fearlessly explore the depths of complex emotions through layers of tension, release, and celestial lyricism. 

Office Dog formed in 2021. Amidst a busy solo career, front-person Kane Strang sought a more collaborative musical outlet. He teamed up with fellow musicians and previous collaborators Mitchell Innes and Rassani Tolovaa, and the trio began writing together across various locations in Tamaki Makaurau/Auckland. Over the next year, fragments began assembling into songs, ultimately culminating in the creation of Office Dog’s debut full-length album, ‘Spiel’, recorded in collaboration with producer De Stevens at Roundhead Studios and mastered by Jonathan Pearce (The Beths). 

“For each of these songs, I just sent over a lead vocal and a piano and Hammock reinvented these songs in way that only they could do,” explains YELLOWCARD vocalist/guitarist Ryan Key about A Hopeful Sign, the new collaboration with the Nashville-based post-rock duo. Set for release on February 9, 2024 via Equal Vision, the new album revisits some of the alt-rock band’s most memorable tracks and reimagines them in a neo-classical and ambient space, deconstructing the songs and rebuilding them as a whole new aural experience. The first single from the album, “Ocean Avenue,” takes the band’s signature hit and metamorphosing the song from a pop-punk anthem to a contemplative and delicate piano-led ballad. “Yellowcard is in a new place where we are collaborating with other artists more than ever before,” says Key about this new musical partnership. “I have found Hammock in my top three most played artists every year for nearly a decade now. Hammock are one of the defining and most pioneering artists in the post rock and ambient space. We have taken so much inspiration from their work over the years so first becoming friends, and then unexpectedly getting to work together on new music were dreams come true.”

Reflecting on the tracklist on A Hopeful Sign, he adds, “I still can’t quite believe it’s real, that we were able to create an entire album with a band that has had such a massive influence on us. Whether it is one of our well-known songs or a deeper cut, these versions bring with them completely new interpretations and meanings for listeners who have lived with them for so many years. During the six years that Yellowcard was apart, I was constantly searching for ways to continue my career as a musician and producer. I had the idea to basically do Yellowcard covers featuring friends and artists I’ve had the pleasure of knowing throughout my career. The first artist to reply and complete a collaboration was Hammock with their reworked version of ‘Empty Street’.”

The nine-track album pulls tracks from 2003’s Ocean Avenue (title track, “Only One”), 2006’s Lights And Sounds (“Waiting Game”), 2007’s Paper Walls (“You And Me And One Spotlight”), 2012’s Southern Air (title track, “Telescope”), 2014’s Lift A Sail (“Transmission Home”) and 2016’s Yellowcard (“Empty Street”, “A Place We Set Fire”).  “It is such an honor to have worked on ‘A Hopeful Sign’ with such talented humans, and this record will be something we cherish forever,” says Ryan.