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There is a core element to Chelsea Wolfes musica kind of urgent spin on Americas desolation blues thats existed throughout the entirety of her career. Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence. The songs stem from humble beginnings little more than Wolfes voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs in their own studio and helped fill them out with his modern production treatments and auxiliary flourishes from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favor of a more intimate atmosphere. The result yields Wolfes most devastating work to date.
Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved - heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses - with some of her finest songwriting to date. It's an album full of romance, a homage to Los Angeles where the album was recorded, to being a kid in the 80's, to films that touched and changed her life. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow. The women of Lost Girls are parallel to one of Khan's previous female protagonists, the tough, darkness-driven Pearl, from her 2009 lauded album Two Suns. Within the women of Lost Girls and the character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.
Two Hands, a completely new, fully-realized, 10-song album by Big Thief, will arrive just five months after their breakthrough U.F.O.F., one of the most acclaimed albums of 2019. In sharp contrast to the wet environment of the U.F.O.F. session, Two Hands had to be completely different— an album about the earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt. Anybody who has borne witness to Big Thief in the wild will find songs they recognize here. Much of the album’s tracks (“The Toy”, “Those Girls”, “Shoulders”, “Not”, “Cut My Hair”) have been live staples for years. Two Hands has the songs that I’m the most proud of; I can imagine myself singing them when I’m old,” says singer/songwriter Adrianne Lenker. With raw power, intimacy, and honor, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album.
Virginia Metalheads MUNICIPAL WASTE return with a fresh EP for fall 2019. It’s been few years and several hundred live shows since the Waste oozed out the much celebrated Slime and Punishment album. Back with 4 ripper tracks that embrace all the bands punk and street metal roots without clutching the past. That honest formula has led the Waste to innovate the festival scene with the opening track and party of the summer “Wave of Death”. Charged by the exotic and biting wit of vocalist Tony Foresta. Turbo charged by the dual guitar aggression of Ryan Waste and Nick Poulos. Locked in and ready for takeoff by rhythm section LandPhil Hall on bass and Dave Witte on Drums. Partiers, you’ve been taught the “Art” and now it is time for an advanced lesson. Thrashers on alert! MUNICIPAL WASTE is delivering, The Last Rager.
Devour marks the fourth full-length record from Margaret Chardiet's project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: "Devour" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at "balancing feedback", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief - nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. "ABOUT THE SHALLOWNESS OF SANITY"... To be well adjusted in this system is to be oblivious and unfeeling. This is for the rest of us, who understand that chaos, madness, pain and even self destruction are natural and inevitable responses to an unjust and disgusting world of our own making.
With their latest album Blood Year, Russian Circles forsake the sonic crossroads of divergent musical paths found on albums like Guidance and Memorial to offer up the most direct and forceful collection of songs in their discography. With guitarist Mike Sullivan, drummer Dave Turncrantz and bassist Brian Cook all residing in different states, Russian Circles have typically crafted their albums by piecing together song fragments and home recordings into meticulous texture-rich studio productions. But after seven tours in North American and five trips to Europe in support of 2016’s Guidance, the band made a conscious effort to approach the songs on Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerized grid, Russian Circles chose to track the foundations of the songs together in one room as complete takes without click tracks. While it retains the dexterity, multi-faceted techniques, and dramatic compositions that have been a trademark of Russian Circles since day one, Blood Year fully embraces the most forceful aspects of the band’s repertoire. The Album was expertly captured by Kurt Ballou at Electrical Audio in Chicago, the world-famous recording studio where they’d tracked Enter, Geneva, and Memorial.
Thom Yorke’s new album ANIMA released summer 2109 was written by Thom Yorke and produced by Nigel Godrich. The album features 9 tracks, with an extra track exclusively on vinyl. A ‘one-reeler’ film, also entitled ANIMA , is available to watch exclusively via Netflix worldwide from midnight 27th June. Made by Paul Thomas Anderson to music from Thom’s album, the one-reeler has a run time of approximately 14 minutes.
First Taste is, as the title implies, a visceral shot of new flavor from Ty Segall. The followup to last January's extroverted Freedom's Goblin, First Taste cross-fertilizes Ty's antisocial side (think: Emotional Mugger) with the wide-ranging humanism of Manipulator and the pop zazz of the aforementioned Goblin. This means an immaculate sequence of sides with Ty playing multiple parts with and without contributions from the Freedom Band. Ty's songwriting confidence is at an apex, and he moves from style to style, evoking directions in rock, lite pop, experimental, alternative and even afrobeat! Ty at 12 (albums) = his best yet?
2019 release, the second collaborative studio album by rapper Freddie Gibbs and record producer Madlib. Entirely produced by Madlib, it is the follow-up to their critically acclaimed 2014 album Piñata, and their sixth project as MadGibbs overall. The album features guest appearances from Pusha T, Killer Mike, Anderson.Paak, Yasiin Bey, and Black Thought.
When I Get Home is the new album from Grammy Award-winning singer/songwriter and visual artist Solange Knowles. This release represents the next phase in Solange's evolution as an artist, and is the follow up to her critically acclaimed 2016 album A Seat at the Table. The album is an exploration of origin. It asks the question how much of ourselves do we bring with us versus leave behind in our evolution. The artist returned to Third Ward Houston to answer this. When I Get Home was written, performed, and executive produced by Solange, and includes contributions from Tyler, the Creator, Chassol, Playboi Carti, Standing on the Corner, Panda Bear, Devin the Dude, The-Dream, and more. It also features samples from Third Ward's own Debbie Allen, Phylicia Rashad, poet Pat Parker, and Scarface.
After a decade in the wilderness, David Berman has returned to record-making - this time around as Purple Mountains, leaving his iconic Silver Jews brand to history. Fortunately for all the fans, he's retained his iconic songwriting style, with a new batch of tunes conveying an astonishing variety of 21st-century mid-life crises. Featuring full-on technicolor production intervention from Woods' Jarvis Taveniere and Jeremy Earle, Purple Mountains debut stands tall among Berman's classic albums, with knee-slappers and eye-wipers alike - ten new tracks ready to go into suffering jukeboxes across the land.
In Spring of 2019, The Tallest Man on Earth will release his first album in 4 years. I Love You. It's A Fever Dream. Was written, produced and engineered by Kristian Matsson and was recorded almost entirely in his apartment in Brooklyn, NY. When asked for some insight into the album, Matsson says "Here's what I can tell you: Of course there are some love songs and then there are some other songs. Making the album I was thinking a lot about the lenses we view our lives through and that, for some reason, our worst tendencies seem to be carried out so loudly, while our best can go unnoticed. I've come to realize that some of the most powerful, most inspiring moments in my life have been the most subtle and that so often the thing that deserves my attention, is trying the least to get it."