In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos-the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It's a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. "The writing process was done with an open heart," says guitarist/vocalist Julia Kugel. "Everything that came before had to go away. And we started there, at ground zero." With each album, you could hear the individual songwriters honing their style. But with The Devil You Know, it feels like we're hearing the first Coathangers record written as a true unit.

How do you describe an album out of time, concerned with the disappearance of culture, of humanity, of nature, of logic and emotion? Why make this album in an era when attention spans have been reduced to next to nothing, and the tactile grains of making music have been further reduced to algorithms and projected playlist placement. Why wake up in the morning? Why hasn’t everything already disappeared? Deerhunter’s eighth LP forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across north america. It comes home, restructures itself and goes back to bed to avoid the bad news. From the opening harpsichord and piano figures of Death in Midsummer, it is impossible to tell where the record came from. Is No One’s Sleeping an outtake of an aborted Kinks recording session in 1977 Berlin with Eno producing? No. That is nostalgia. If there is one thing Deerhunter are making clear it is that they have exhausted themselves with that toxic concept. What they spend their time doing instead is reinventing their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth. The result is as thrilling, haunting, and unpredictable as anything in their roughly 15 year career. Deerhunter have made a science fiction album about the present. Is it needed right now? Is it relevant? Perhaps only to a small audience. DADA was a reaction to the horrors of war. Punk was a reaction to the slow and vacant 70’s. Hip Hop was a liberated musical culture that challenged the notions presented wholesale about the African-American experience. What is popular music today a reaction to?

“Signs” is the fourth studio release from Tedeschi Trucks Band and offers another outstanding example of their ability to expand musical boundaries in ways that only a rare caliber of musician can achieve. “Signs” showcases the band at their best – combining inventive musicality and provocative lyrics across eleven original tracks, running the gamut from uplifting soulful anthems, to bittersweet ballads and driving rock and roll.

The album was recorded at Derek and Susan’s home studio, Swamp Raga, on two-inch analog tape giving it a warmth and richness that recalls the ambience of the best vintage recordings. Vinyl mastering and lacquers were cut from the analog master tape and pressed on 180 gram black vinyl for highest sound quality.

Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. Even with an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications’ sophomore LP, American Love Call, is planted firmly in the present, with the urgency of this moment in time.

The Indications’ 2016 self-titled debut was the product of friends who met as students at Indiana University in Bloomington, In., recorded for $452.11, including a case of beer. American Love Call, the band’s sophomore LP is instead the record the Indications dreamed of making, fleshed out with strings, backing vocals, and a newfound confidence in songwriting.

Blending a slew of influences from years spent crate-digging, guitarist Blake Rhein says the Indications approach songs in the same way hip-hop producers do, as likely to pull inspiration from ‘70s folk-rock or classic R&B as they are Nas’ Illmatic.

“Did I expect to do this shit once I got out of college? Hell no,” Jones relays, laughing. “Totally not. But this is what God is telling me to do – move and groove. So I’m gonna stay in my lane.” 

Color Vinyl, Limited Edition. Better Oblivion Community Center is a brand new band comprising the formidable talents of Phoebe Bridgers and Conor Oberst, two of the most lauded American songwriters of the past several years. Written and recorded in Los Angeles during the summer of 2018, their self-titled debut album will be released on Dead Oceans in early 2019. The pair first collaborated on Bridgers' 2017 single, "Would You Rather", taken from her acclaimed debut album Stranger In The Alps. They teamed up again for a recording of Oberst's "LAX" in the fall of 2018. Co-produced by Bridgers, Oberst and long time Oberst/Bright Eyes collaborator Andy LeMaster, Better Oblivion Community Center features the work of several talented friends: Yeah Yeah Yeahs' guitarist Nick Zinner appears on two tracks (first single "Dylan Thomas" and "Dominoes") while Carla Azur (Autolux, Jack White) plays drums on half of the album. Dawes' rhythm section Wylie Gelber and Griffin Goldsmith appear on the other half. Songwriter Christian Lee Hutson contributes guitar and Anna Butterss provides bass. Bridgers and Oberst are currently putting together a live band to tour in March and April.

The GRAMMY® Award-winning maverick channels his signature sense of soul from the crossroads of rock ‘n' roll, blues, jazz, hip-hop, reggae and punk. Clark's most accomplished songwriting and virtuosic performances to date; THIS LAND delivers socially relevant, transcendentally ambitious, and musically rich declaration as unapologetic, undeniable, and unique as he is. He emerges with a body of work that is dynamic in every sense, embodying an ever-evolving sound that transformed him into an artistic force anointed by everyone from President Barack Obama to the late Prince.

Boy Harshers second full-length album, Careful, further develops the bands brooding dance style, set up in their previous ep Country Girl. The ten songs, spanning forty-four minutes, contain eerie narrative soundscapes that are bracing, high tempo and dynamic. The album delivers manifold emotions, from the nostalgic yearning of LA to the gripping intensity of Come Closer. The nervousness of Augustus Muller's bent, out of tune synths paired with the lush and sometimes brittle vocals of Jae Matthews, delivers an unsettled, yet fulfilling encounter with Boy Harsher. Careful summons a new spirit for the young band - that of growth and desire.

Opaque Red Vinyl. After releasing 2016's critically acclaimed Apocalipstick, Cherry Glazerr spent the next 18 months touring the world on their own steam. Between DIY All Ages venues, rock clubs, large festival stages, and massive theaters with some of the world's best and most beloved bands (The Pixies, Flaming Lips, Slowdive, and The Breeders, among others), the band has really only stopped to work on their follow up, Stuffed & Ready. While furiously building the band's sound and ideas, front person Clem Creevy enlisted Carlos de La Garza to be the band's studio co-collaborator as they evolved the songs and refined the recordings.

Pedro the Lion has always been David Bazan, but it took a long time to get back there.

In August 2016, during what he now recognizes as his lowest point, Bazan was touring the country alone in an aging minivan and found himself in his hometown of Phoenix, AZ. In need of a break from the road, he spent a night off at his grandparents’ house instead of driving on to San Diego. Before leaving town the next morning, after realizing that even the most familiar places can become unrecognizable, Bazan gave himself the gift of a quick detour past the house he grew up in, and on the way, experienced a breakthrough - one that would lead him both forward and back to another home he had built many years before.

From the beginning, Pedro the Lion didn’t work like the bands Bazan had played drums in, where each player came up with their own parts. Instead, like scripting scenes of dialogue for actors to play with, Bazan recorded and arranged all of the skeletal accompaniments for his obsessively introspective lyrics and spare melodies. Each player would then learn their parts and, together as a band, they brought the skeleton to life. While bandmates played on a few recordings, Bazan often played all or most of the instruments himself.

“I found so much joy working this way,” Bazan remembers. “It came naturally and yielded a feeling and a sound that couldn’t have existed by any other process. At the same time, I was also aware that not everyone wanted to play in a band where the singer wrote all the parts and might perform them on the record. Someone even suggested it might not be a valid approach to having a band in the first place. Being insecure and wanting to find camaraderie, I became conflicted about my natural process.”

By 2002, after recording Control, the high rate of turnover in the band finally caused Bazan to ditch his “natural process” in favor of a collaborative writing process. When, after a couple more years, this move did nothing to stabilize turnover, Bazan was perplexed. In November 2005, Bazan decided to stop doing Pedro the Lion altogether.

Ironically, Bazan didn’t see “going solo” as a chance to revert back to his original process of writing and playing all the parts. For the next decade Pedro the Lion felt off limits, even forgotten, like a childhood home Bazan had moved out of. He pushed forward with releasing solo albums & relentless touring in living rooms and clubs, through every part of the US and beyond, sometimes with a band, but mostly on his own. It took a toll on his family and more acutely on himself. By the summer of 2016, he still hadn’t found the personal clarity or the steady collaboration he’d been seeking and was at the end of his rope.

“I had abandoned my natural way of working in the hopes of creating space for a consistent band to write with...and it hadn’t worked. So I got a rehearsal space, mic’d up drums, bass, and guitar, and really leaned into my original process again. It immediately felt like like home. Before long I realized it also felt like Pedro the Lion.”

In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix, the first new Pedro album in 15 years.

The physical edition of Pinegrove's follow-up to 2016's widely heralded 'Cardinal' is now here. Comes with a bonus lp / disc, titled Skylight 2, of an acoustic version of the whole album, exclusive to the physical edition and not available digitally. The deluxe LP comes on clear vinyl.

In 2019, Hot Water Music will be celebrating their 25th anniversary as a band and touring the world performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in 2019: 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next.

Fresh off 2018 s collaborative LP with the enigmatic MF DOOM, CZARFACE meets METAL FACE, the adventure continues as CZARFACE now faces off with Wu-Tang Clan s GHOSTFACE KILLAH. "Czarface meets Ghostface brings strictly mind melting beats and bars as 3 emcees clash like villains & heroes in the Savage Land. Czarface, a hip-hop & comics force comprised of WU-TANG CLAN General Inspectah Deck, Esoteric (who recently penned an X-Men comic for Marvel) and super producer 7L team up with Ghostface aka Iron-Man aka Tony Starks for murderous mayhem! Czar commando's Rebel INS & Esoteric trade lines such as "follow in my footsteps might tear your Achilles," & "flow customized got that Dapper Dan touch" with Ghost on the assist "chain is off the cooler, charm look like a shrunken head". With track titles like "The King Heard Voices", "Mongolian Beef", "Czarrcade '87", "Masked Superstars" & "Powers and Stuff" expect nothing short of a super charged collaboration! 12 brand new tracks produced entirely by The Czar-Keys (7L & Jeremy Page)

Anderson .Paak's new album, Oxnard, is a nod to the Southern California city where Anderson grew up. It is the Grammy-nominated artist’s 3rd studio album and the first to be released on Dr. Dre’s label Aftermath Entertainment. Oxnard will include his latest single, “Tints” featuring Kendrick Lamar along with album features from J. Cole, Pusha T and many more. Earlier this year, Anderson .Paak shared with Rolling Stone that "… this is the album [he] dreamed of making in high school, when [he] was listening to [Jay-Z]'s The Blueprint, The Game's The Documentary, and [Kanye West's] The College Dropout."

From M.C. Taylor:  William s new record, Goes West, is the best music that he s ever made. I m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then no alcohol, no drugs, no evil thoughts and was astonished at the emotional clarity that the album held. It offered up a model for what I wanted my head to feel like. Goes West marks a sort of narrowing of focus for William s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville s great electric guitarists. The band that performs Goes West alongside William including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine is the best and most sympathetic group of players that William could have assembled to play these songs.

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms. 

Aviary is LA composer Julia Holter's most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a short story by Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also agood metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void.

The musicians and production team behind the great CHARLES BRADLEY present DUNHAM RECORDS newest sensations! Direct from Staten Island, The SHA LA DAS (a play on their surname, Schalda) are a musical family in every sense of the phrase. Don't get confused here, folks. We're talking real-deal, shoot-from-the-hip group harmony of the highest order. The group is comprised of Patriarch, BILL who honed his skill and cultivated his ear for harmonies at an early age, singing on the streets of Brooklyn with other neighborhood kids and his sons WILL, PAUL, and CARMINE, all musicians in their own right (THE EXTRAORDINAIRES, SWIVS, PAUL AND THE TALL TREES.) The genesis of the Sha La Das came to fruition when an old friend, TOMMY BRENNECK (Dunham/Daptone producer and musician), called upon the Schalda boys to sing back-ups on CHARLES BRADLEY S now classic Victim of Love. The second Tommy heard the four Schaldas sing he knew he had to make a record with them. This idea soon developed into a passion whose fruits have been cut into the 12 masterpiece we humbly present here. From the opening atmospheric guitar strum of Open My Eyes' via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic. So sit back, close your eyes and take in the SHA LA DAS' Love in the Wind. Let the full realization of their harmonies wash over the lush instrumentation of MENAHAN STREET BAND, and float into the starlit summer's night.

Mothers attempt to exist in two places at once - both singular and collaborative, sprawling and concise, present and distant. Kristine Leschper, songwriter and founding member of the project, explains that it is in the space between opposites that she finds herself. The multifaceted is, by nature, fragmented - each facet reflecting a slightly different perspective of the whole. On their latest record, Render Another Ugly Method, the band attempts to gain an expanded view of its surroundings through splintered sound, thought, and image.

Year of the Snitch is the upcoming sixth studio album by experimental hip hop group Death Grips, set to be released on August 10, 2018 through Third Worlds and Harvest Records.

‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors.’ Here David Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate and gorgeous vocal harmony too. The album begins with “Right Now,” David singing, “there was silence in my heart, but now I’m striking up the band.” In addition to the core musicians and guests, LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope. Lamp Lit Prose will be the ninth release for Dirty Projectors and comes with collaborations from HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose was recorded at Ivo Shandor in Los Angeles.

Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine – a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC – and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver – who contributed guitar parts and orchestration suggestions – and, slowly, an album took shape; soon after, First Flower became real.

A walk-through Burch’s most intimate thoughts – broken friendships, sibling relationships, and overwhelming anxiety – First Flower is a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever. Opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. Title track “First Flower” is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album’s true stand-out is “To The Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. “I don’t need to scream to get my point across/I don’t need to yell to know that I’m the boss,” she coos over a sparse guitar riff.

First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power.

Eternal Return, the fourth full length from Richmond, Virginia’s heavy psychedelic quartet WINDHAND represents a new era for the group, a chrysalis moment that takes them to new and unforeseen heights. Across nine songs and 63 minutes, Eternal Return is an infectious display of songcraft cloaked in alluring atmosphere, molten fuzz, eerie psychedelia and ethereal vocals. The album was once again produced by Jack Endino (Nirvana, Soundgarden) with vivid artwork by Arik Roper (Sleep, High on Fire). Equally informed by heavy, fuzzed-out psych along with the iconic grunge / alternative groups of the 90s, WINDHAND have crafted a record brilliant in scope, powerful in execution, and perfect for an era of increasingly blurry yet still heavy borders.

Some bands love having very ironic names. When a band is called Daughters, listeners might expect: (1) a female-dominated or female-fronted lineup, and (2) an introspective folk-rock or adult alternative approach along the lines of the Indigo Girls, the October Project, or 10,000 Maniacs. But those who have been following Daughters since their official formation in 2001 (or before that when they were As the Sun Sets) know that they aren't a female act and that they don't sound anything like the Indigo Girls, the October Project, or 10,000 Maniacs. Daughters are guys, and they're guys who provide a jagged, dense, highly abrasive dose of noise rock on this self-titled 2010 release. Daughters have been described as everything from mathcore or math metal to alternative metal to grindcore (although this album doesn't sound like Cannibal Corpse or Carcass), but noise rock is the term that best captures Daughters in 2010 -- and make no mistake: this is an extremely noisy album. Daughters thrive on being as noisy as possible, and they love to be as frantic and as nervous as possible. A lot of that nervousness comes from a healthy appreciation of punk; they clearly appreciate punk's high-speed aggression as much as they appreciate metal's heaviness. Combine that frantic, nervous, punk-minded tension with a lot of metallic heaviness, and you have an album that leaves a trail of destruction in its wake.

November sees the release of MERRIE LAND, the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong.

The Good, The Bad & The Queen began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5 star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”. The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London's punk scene, all the while taking in a strand of British beat music from the '50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.

Now the four musical storytellers are back with a new studio album titled Merrie Land. Produced by Tony Visconti and The Good, The Bad & The Queen was completed in London and Wales this year, during the current ongoing period in which the UK is preparing to leave the European Union, Merrie Land is a questioning good-bye letter, a series of observations and reflections on Britishness in 2018. Even though it has been over 10 years since the band last released a record, the timing could not be more apt – there could not be a more perfect band to untangle the optimism, disorientation and confusion in the atmosphere today. With Merrie Land, the band taps into a creative symbiosis of past and future, drawing inspiration from their shared glittering musical histories and wrapping the hybrid results in a brilliantly postmodern yet thoroughly British package.

The album sees the band’s focus move beyond London with a beautiful and hopeful paean to the Britain of today - an inclusive Britain - and the possibilities of the future. In the band’s own words, Merrie Land is a ten song lament of Anglo-Saxosentialism marking the reluctant end of a relationship, and about picking up the pieces and seeing what can be salvaged. The band set a beautifully muted palette and lustrous finish to bring out a mood that is bruised yet unapologetically defiant and optimistic, and carries the underlying message: we will survive. In times of metaphysical trauma, the people need to forge ahead and wear armour. Here it is, set to the mood music of a nation about to be broken yet undefeated.

Jeff Tweedy will release, WARM, a solo album of all new material on November 30th via dBpm Records. WARM was produced and recorded entirely by Jeff at Chicago’s now legendary studio, The Loft (with help from some of his usual collaborators – Spencer Tweedy, Glenn Kotche and Tom Schick). WARM follows the acoustic retrospective release, Together at Last (2017), and Wilco’s 2016 album, Schmilco. The incredible liner notes for WARM were written by George Saunders. Jeff’s long-awaited memoir, Let’s Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, Etc., is out November 13th via Dutton

Mumford & Sons emphatic return is spearheaded with the inspiring new single, "Guiding Light".  Their fourth album, Delta, is out on November 16th.

Formed in Chicago, IL in 1988, The Smashing Pumpkins released their heralded debut album Gish in 1991 and found mainstream success with 1993’s 4x multi-platinum Siamese Dream and 1995’s 10x multi-platinum Mellon Collie and the Infinite Sadness. Following the release of Adore, Machina/The Machines of God, and Machina II/The Friends & Enemies of Modern Music, the group’s original lineup disbanded in 2000. Singer/guitarist Billy Corgan reformed the group in 2005, enlisting various collaborators for Zeitgeist, Teargarden by Kaleidyscope, Oceania, and Monuments to an Elegy. In June of 2018, The Smashing Pumpkins released their new single “Solara” ahead of their monumental Shiny And Oh So Bright Tour. The track was the first song in over 18 years to feature founding members Billy Corgan, James Iha, and Jimmy Chamberlin, alongside longtime guitarist Jeff Schroeder and offered the first glimpse of music from the newly reformed lineup. In September of 2018, the band formally announced their forthcoming 10th studio album SHINY AND OH SO BRIGHT, VOL. 1 / LP: NO PAST. NO FUTURE. NO SUN. and shared its second single “Silvery Sometimes (Ghosts)”. Recorded at Shangri La Studios with legendary producer Rick Rubin, LP is due for release on November 16th, 2018 via Martha’s Music under license to Napalm Records. With over 30 million albums sold to date, the GRAMMY®, MTV VMA, and American Music Award winning band remains one of the most influential bands in history.

The 1975’s highly anticipated third studio album A Brief Inquiry Into Online Relationships will be released on Friday, November 30th via Dirty Hit / Interscope Records. Their debut album The 1975 is now platinum with their most recently released album I like it when you sleep, for you are so beautiful yet so unaware of it surpassing Gold after having debuted at #1 on the Billboard Top 200.

For his new album Upside Down Flowers, out November 16, 2018 via Fantasy Records, Andrew McMahon in the Wilderness teamed up with noted producer and acclaimed musician Butch Walker (Pink, Weezer, Panic! At The Disco). Featuring standout tracks like 'Ohio,' 'Teenage Rockstars' and 'Paper Rain,' the album is a striking collection of wistful and biting tunes that reflect the past and our chaotic present.

HOLOGRAPHIC COVER, 18X24 POSTER, LTD TO 1500

Goshen Electric Co. happened both all at once and gradually: an electrifying culmination of Tim Showalter’s nearly two decades- long love affair with Jason Molina’s craft, and just one half-day in the recording studio with the members of Magnolia Electric Co. Better known as Strand of Oaks, Showalter’s turn at the helm of Magnolia Electric Co. (Mike Benner, Jason Evans Groth, Mikey Kapinus, Mark Rice, Peter Schreiner) comes ahead of the Goshen, In. native’s Memorial Electric Co. European tour. The resulting 7-in. shows a sweeping range: “The Gray Tower,” a 2002 single, and “Ring the Bell,” which appeared on both Songs: Ohia’s Didn’t It Rain (2002) and Magnolia Electric Co.’s Trials & Errors (2005). “Ring the Bell,” recorded in one take, roars in with a twinge of psychedelia, thrumming with vibe; Showalter’s wail recalls Molina’s somber, choir-boy croon, but roughened with sandpaper. The prophetic, dystopian darkness of “The Gray Tower” captures the original soaring chorus and delicate melody with the power of a full band. Decades later, the intense, un inching urgency of Molina’s songwriting endures. “There was such an intimate relationship with his music – it felt a lot deeper than just liking a song,” says Showalter. “You live in these songs.”

6LP in case-wrapped folio book with 48-page book and exclusive lithograph, sticker.

Reprise Recordswill releaseAn American Treasure-a career-spanningTom Pettybox set.The 60-track set unveils dozens of previously unreleased recordings, alternate versions of classic songs, rarities, historic live performances and deep tracks that spotlight Tom's remarkable depth and evolution as a revered and tremendously influential songwriter, recording artist and performer.An American Treasuremarks the first release of Tom Petty music since the artist's tragic passing in October 2017.

Denzel Curry's highly-anticipated third album TA13OO will be released in three acts. The first act, Light, will be released July 25th, followed by Gray on July 26th and Dark on July 27th. Each early single represents one of the album's acts, as "Sumo" represents Light, "Clout Cobain" represents Gray, and "Percs" represents Dark, which come together cohesively to form TA13OO. Across the three sections of TA13OO, Denzel explores topics including molestation, the presidential election, fame, hatred, paranoia, revenge, love, the current state of music and personal tales of his own near death experiences. Sonically, the album ranges just as widely as its subject matter, sounds of paranoia, fear of loss, brooding melancholy and mood swings straight from hell all find their way onto TA13OO, making this Denzel's most groundbreaking musical performance to date.

TA13OO is the first longform statement from Denzel since his 2016 album Imperial, which landed him on the XXL Freshman cover and helped set the template for the South Florida sound that has exploded in the last few years. The album bridges the gap between the older generation of hip hop and the budding generation of SoundCloud rappers that he helped birth in sound and style, all while commanding respect from them both with lethal lyricism and deeply personal storytelling.

Cult Leader is a chaotic band from Salt Lake City, Utah. “A Patient Man” was recorded and engineered by Kurt Ballou at God City Studios (Converge, Nails, High On Fire). From the first hits of opener “I Am Healed” Cult Leader take listeners on a sonic rollercoaster ride. Much of the album follows this blueprint. Songs like “Curse of Satisfaction”, “Craft of Mourning”, and “Share My Pain” are driven by a weave work of unorthodox metallic riffing and fueled by hyper-aggressive percussion. While the tech- nical proficiency is impressive, it’s in their use of dynamics where they truly shine. The album contains four beautifully brooding epics; “To: Achlys”, “A World of Joy”, title track “A Patient Man”, and “The Broken Right Hand of God”. Each one of them carries a maturation and sense of melody that few “extreme” bands have within their arsenal. Proving that aggressive music still has much to offer the world in terms of originality, creativity, and emotion.

Original score music from Radiohead’s Thom Yorke, including 5 original songs, soundtracking the forthcoming remake of Dario Argento’s cult classic “Suspiria.” The Luca Guadagnino directed film stars Dakota Johnson & Tilda Swinton.

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies. The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved. “We wanted to honor the original Halloween soundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.” Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands. “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.” For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars. “It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green’s vision.” For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around. “It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about,” Davies said. “Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.”

The second full length album by KG&TLW, released in 2013 and originally limited to 500 copies. A cult western audio book, the album is narrated and tells a story of the American Frontier. Spaghetti western, garage rock. The original pressing was limited to 500 copies on sky blue wax.  It has never been repressed or reissued.

New Artwork Re-imagined by Jason Galea

Halloween Orange-Colored Vinyl

On 12” 45rpm for the First Time

Heavyweight Jacket with Inner Sleeve

“I had a dream about Lemmy,” says Matt Pike, explaining the inspiration behind the title of High on Fire’s triumphant eighth album Electric Messiah. If there’s one aspect of High on Fire that warrants comparison to Lemmy’s mighty Motörhead, it’s longevity. 2018 sees the band celebrating 20 years of the most thunderous heavy metal, with brothers-in-arms Pike, bassist Jeff Matz, and drummer Des Kensel having been firmly intact for the last dozen years. Along the way the band has forged a distinct identity of towering riffs, a propulsive rhythm section, shredding solos, and lyrics of Hessian poetry that has drawn accolades from not only the metal community (notably Decibel, Revolver, Metal Hammer, Terrorizer, Kerrang! magazines) but from mainstream music scribes as well. Rolling Stone, Pitchfork, the Chicago Sun-Times, and The Village Voice are among the dozens of publications outside the metal scene to extol the greatness of High on Fire to curious readers.

While recording Unknown Mortal Orchestra’s latest release, Sex & Food, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi playing and recording with local musicians at Phu Sa Studios. The studio, normally used for traditional Vietnamese music, found the band jamming on sessions dubbed IC-01 Hanoi: exploring the outer edges of the band’s influences in Jazz, Fusion and the avant-garde. The musicians, along with Ruban and Kody’s father, a Jazz musician in his own right, helped lay down the unique textures heard throughout Hanoi. At its core Hanoi is a record of exploration, finding its closest antecedent in Miles Davis’ experimental On The Corner – itself a record full of nods toward avant-garde composers and Jazz outsiders alike. Hanoi finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. Kody and Jacob match Ruban’s melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on Hanoi.

Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next. Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music—not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.” These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with Australian singer-songwriter-guitarist Courtney Barnett, opened for Neil Young in front of 90,000 people in Quebec, famously became a clue on Jeopardy, hung out with friends, took vacations with his wife and daughters. “I’ve been bouncing around a lot and recording all over. My family would meet me in the middle of America, and we’d go on a road trip somewhere. I would record in between all that stuff.” As Vile prepares for another round of lengthy tours and countless shows, these songs should prove good company, reminders of the love and responsibility he has toward those he leaves at home and those he meets along the way. That makes the sentiments resonate more strongly and lends Bottle It In an emotional weight. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.” “Impeccably recorded and mixed songs that shuffle bits of folk, new wave, or country in the mix but are always squarely down-the-middle rock.” Mark Richardson, Pitchfork “Vile’s self-awareness is as appealing as his melodies, and he’s stoked a reputation as a bit of a slacker maharishi—at the very least, a look inside Vile’s head might make you think a bit more deeply about what’s going on in your own.” The New Yorker

Melody's Echo Chamber (aka Melody Prochet) has confirmed her second album, Bon Voyage, will be released on June 15th on Fat Possum Records. Made up of seven expansive tracks, Bon Voyage marries Melody's breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove as she delivers her fables of spiritual search and emotional healing in multiple tongues (French, English and Swedish).

Bon Voyage is a collaborative record between Prochet and Dungen's Reine Fiske and The Amazing's Fredrik Swahn with Melody sculpting and producing the sessions as well as encouraging the players around her to experiment, often with instruments that might be less familiar to them. It also features special guests Gustav Esjtes and Johan Holmegaard (both from Dungen) and Nicholas Allbrook (Pond).

If troglodytes could have gotten their paws on a Fuzzthrone or other fuzz pedals…they would have probably bashed each other`s skulls in. Conan on the other hand use these beautiful tools to wrench the maximum out of their legendary Caveman Battle Doom: could there be a more monolithic opener than ‘Prosper On The Path‘? Narp. The British trio presents a tar monster named Existential Void Guardian that seems even more menacing as soon as it gets high on its own downtuned groove frenzy. Two years after the remarkable Revengeance, Conan once more leave us baffled with a previously unknown side to dual vocal sludge – behold the painful melody splinters ‘Eye To Eye To Eye‘ leaves behind or the insane grind intermezzo that is ‘Paincantation‘. True beauty lies in dissonance, and it always will.

2018 release. Bayside have already established themselves as a cornerstone artist in the punk scene, and are rising to new heights with the release of their second acoustic album, Acoustic Volume 2. Containing some of their biggest hits and most profound songwriting, Acoustic Volume 2 is a necessary piece in any fan's collection.

On September 7, Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits.

Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic—but perhaps never as distinctly as on Indigo, the fourth Wild Nothing album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini, and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause. Indigo finds Tatum at his most efficient, calculated, and confident—resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses.

To make Indigo, Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the album was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Tatum built out the rest of the album’s sound by adding new parts and repurposing sounds from Tatum’s demos. The resulting Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.

Los Angeles based, Swedish vocalist, producer, and songwriter Lykke Li released new single "deep end" and additional track "hard rain." The songs mark the long-awaited coming of so sad so sexy, Lykke Li's fourth full-length album and follow-up to 2014's critically acclaimed I Never Learn, due June 8th via RCA Records, her first release with the label.

ABOUT THE ALBUM In 2008, Aaron Dessner sent Justin Vernon an instrumental sketch of a song called “Big Red Machine” for Dark Was The Night. This was before they had met in person. Justin wrote a song to it, interpreting the Big Red Machine title as a heart. 10 years of friendship later, there are 10 more songs. Big Red Machine. Each song includes a large number of collaborators via the PEOPLE platform and the record was produced by Justin and Aaron with longtime collaborator Brad Cook and engineered by Jonathan Low primarily at Aaron’s studio Long Pond in Upper Hudson Valley, NY ABOUT PEOPLE PEOPLE is a steadily growing group of international artists who have come together to create and share our work freely, with each other and everyone. It was born outo a wish to establish an independent and nurturing space in which to make work (generally around music) that is collaborative, spontaneous and expressive in nature and where all unnecessary distractions or obstacles that get in the way are removed. PEOPLE is for the bene t and development of the artists involved and just as importantly, for those who would like to access and enjoy the output. It is as much about the process of making work and showing all that openly, as the final outcome.

Pink Vinyl- Ten Bands One Cause

Released in 2006 as a follow-up to Sufjan Stevens’ 2005 Illinois, Asthmatic Kitty Records is finally releasing Avalanche on vinyl on August 31st, 2018. Initially conceived as part of a double album version of Illinois, Avalancheinstead became a “companion” (a polite word for “b-sides”) to Illinois. Since its release, fans have had mixed reactions. “3 versions of Chicago?!?! Enough already,” wrote ‘biografiend” on Sputnik. But “cravenmonket,” who gave the album 4.5 stars on rateyourmusic, suggests that we all “stop thinking of The Avalanche as more Illinois. It actually owes more to Michigan.” Cravenmonket may be right. Take “The Mistress Witch” or “Saul Bellow,” both of which could have lived on the 2003 Michigan as much as on Illinois. One can hear Sufjan’s 2004 Enjoy Your Rabbit in “The Undivided Self.” And the band jam on “Springfield” looks forward to 2010’s All Delighted People. Then there’s “Pittsfield,” which, at least lyrically, foreshadows the more personal themes of 2015’s Carrie & Lowell. All that to say, a vinyl release of Avalanche is long overdue. With gratitude, we happily present Avalanche as a 2xLP a mere twelve years after its release, complete with all 21 songs from the original release, including the three versions of “Chicago” (you’re welcome, biografiend). THANK YOU!

25 years after its initial release, Julee Cruise’s sophomore album The Voice of Love will be issued for the first time on vinyl August 17 via Sacred Bones Records, and on CD for the first time since its initial pressing in 1993. It would mark the final full-length collaboration between Cruise, David Lynch, and Angelo Badalamenti. In 1994, a er the release of Twin Peaks: Fire Walk With Me, Lynch, Badalamenti, and Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love. “In the studio, David would always say ‘[sing] like an angel, like an angel...” Cruise remembers. In many ways, this quest for “angelic” was the seed that grew an entire genre out of the inability to utilize This Mortal Coil’s “Song to the Siren” for Blue Velvet. It’s eerie to ponder what might not have been had the song actually been within reach for that film. Fitting that all these years later, Twin Peaks concluded on a similar question followed by Cruise’s performance of “The World Spins”: What happens if Laura Palmer was never murdered?

4-track 12" Vinyl EP. Recoded live at Copenhagen's Royal Arena in October 2017, Performing new album Skeleton Tree's beautiful compositions alongside songs from their essential catalogue, Distant Sky captured an extraordinary and triumphant live concert from Nick Cave & the Bad Seeds from their celebrated 2017 world tour.

Thank You for Today, Death Cab for Cutie's ninth studio album, was produced and mixed by Rich Costey (Fiona Apple, Franz Ferdinand, Muse), who also produced the band's last album the GRAMMY® nominated Kintsugi. Thank You for Today marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab's touring band since 2015. Death Cab for Cutie will celebrate their new album with a much anticipated fall tour. Check out the single "Gold Rush"

The third full-length release for the Philadelphia shoegaze band led by Domenic Palermo was produced by John Agnello.

Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with ’90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden (all of whom they’ve covered extensively, both in the studio and onstage). The band’s aesthetic and political impulses reflect the obscure ’90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. From 2004 through 2016, the band has released four full-length albums, six EPs (some bordering on full lengths), two collaboration records with The Body, and enough material spread out over splits to make up another four or five LPs. Sacred Bones Records is proud to present the new album, Magus, Thou’s first full-length since 2014’s Heathen. In the months leading into the new album, Thou will be releasing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound—noisy drone, quiet acoustic, and melodic grunge—all of which is incorporated into the new LP, subsumed in the band’s more standard doom metal. While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. FFO alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease.

“The Lamb was written during a time of intense paranoia after a home invasion, deaths of loved ones and general violence around me and my friends,” says Lillie West, the Chicago-based songwriter behind Lala Lala. “I began to frequently and vividly imagine the end of the world, eventually becoming too frightened to leave my house. This led me to spend a lot of time examining my relationships and the choices I’d made, often wondering if they were correct and/or kind.” West initially started Lala Lala as a way to communicate things that she felt she could never say out loud. But on The Lamb, her sophomore LP and debut for Hardly Art, she has found strength in vulnerability. Through bracing hooks and sharp lyrics, the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood -- her fraught insecurity, struggles with addiction, and the loss of several people close to her. Across the album’s 12 tracks, West carefully examines the skeletons in her closet for the first time, hoping to capture honest snapshots of her past selves. Many of the songs show West asking herself agonizing questions about her life with a clever and hopeful curiosity. On the album’s first single and opening track, “Destroyer,” she reflects on feeling self-destructive and the delayed realization something in the past has irrevocably hurt you. In “Water Over Sex,” West laments her old precarious lifestyle, while trying to readjust to her newfound sobriety, and ”Copycat” confronts her feelings of alienation and boredom. “Some of this album is about being frustrated that everything is always repeating itself and being bored with your own feelings,” she explains. “‘Copycat’ in particular is about how everyone talks exactly the same on the Internet and how it sometimes feels futile to try and be yourself.”

Joyce Manor are back with a new album, entitled Million Dollars To Kill Me. Frontman Barry Johnson along with co-founding guitarist Chase Knobbe, new drummer Pat Ware—(“Awesome new drummer,” adds Johnson)—and longtime bassist Matt Ebert, wrote enough songs to fill a full-length, and then worked to get songs lifted from emails between Johnson and one of his musical hero Impossibles’ guitarist/vocalist Rory Phillips, with whom he had been co-writing long distance, to match the ones written at full volume. (“Bedroom charm versus live rock band,” Johnson explains.) Their next step was a new step: their first time recording outside their L.A. hometown, at Converge’s Kurt Ballou’s GodCity studio in Salem, Massachusetts. They recorded daily 10-to-6 and then slept right upstairs in bunk beds: “Kinda felt like camp,” says Johnson. “It was a pleasure—I would recommend it to anyone.” If 2016’s Cody was about growing up, then Kill Me is about what happens next—the reckonings with love, money, doubt and confusion, and the hope that persists despite it all.

Gouge Away are a hardcore punk band from Fort Lauderdale, Florida. “Burnt Sugar” is their latest album, co-produced by Jack Shirley (Deafheaven, Oathbreaker) and Jeremy Bolm of Touche Amore. With “Burnt Sugar” Gouge Away dive into personal and social political subject matter without getting the bends on their way back to surface. Carrying an emotional vulnerability and honesty that few bands own in today’s music world.

The new highly anticipated album from Alice In Chains on 2xLP 180 gram vinyl.

The seven-track release for the New York rap artist was produced by Kanye West.

Swearin’ is the kind of band that comes around, at best, once a decade. Thankfully for us, they’ve come around twice. After releasing two beloved full-lengths, 2012’s Swearin’ and 2013’s Surfing Strange, the Philadelphia band quietly put things on hold. It was due, at least in part, to the band’s main songwriters, Allison Crutchfield and Kyle Gilbride, ending their romantic relationship. And though Swearin’ tried to soldier on, it became far too stressful to keep going. But after a few years apart, those bad feelings disappeared. And when the band’s three members—Crutchfield, Gilbride, and drummer Jeff Bolt—found themselves in a room again, the conversation inevitably turned back to Swearin’. “Drunkenly, without any hesitation or inhibitions,” said Crutchfield, “we asked, ‘What would it take from each of us? What would we need to do this again? What would we want to accomplish if we decided to be a band again?’” They realized that what they all wanted was to not just play shows, but to make a new record. Before the band initially split, they’d already started writing for what would have been their third album, but instead of going back to that old material, they wanted to do something that reflected the people they’d become during those intervening years. “When a band re-forms and makes a new record that is trying to sound like the heyday of their band, it doesn’t sound genuine,” said Bolt. Before long, Crutchfield and Gilbride had a new batch of Swearin’ songs, ones that meshed with the sound they’d originally developed together but boldly pushed things forward. The result is Fall into the Sun, a Swearin’ record that doesn’t try to obscure the passage of time but instead embraces it. “Getting older, your tastes change, and what you want to do changes,” said Bolt. Those changes, though subtle, are impactful, making Fall into the Sun what Crutchfield calls “the adult Swearin’ album.” It can be seen in songs like “Big Change,” where she says goodbye to Philly and the scene that she came up in, or in “Dogpile,” where Gilbride offers the line any aging punk can relate to: “By pure dumb luck I’ve gotten where I’m going.” Where Swearin’ used to pummel through their songs, on Fall into the Sun, they bask in what this newfound openness offers. It’s most notable on the ambling “Stabilize,” which sees the band throw their weight around in the song’s back half, offering up what’s easily the heaviest riff in the band’s catalog. “I think both me and Allison have gone through huge transitions in our lives. There was a lot on our minds, and it was a super fertile time to put a bunch of songs together,” said Gilbride. It’s true of the material found on Fall into the Sun, but it’s noticeable in the album’s production, too. Much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “I feel like this was the first time I could look at a Swearin’ record and say that I co-produced it, and that felt really good,” said Crutchfield. Recorded in both Philly and Los Angeles, where Crutchfield now resides, Fall into the Sun took shape by the members giving their full trust to one another, and it can be seen in the final product. Listening to Fall into the Sun, the old Swearin’ is still there, but it’s a more confident, collaborative version than the one people first came to know. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. Though it may have taken them a while, Swearin’ finally made the third album they always wanted. Fall into the Sun is as riotously affirming as their early work...

For years, Phosphorescent’s rise was a steady one: tours got a little better, rooms got a little bigger, and with it the music became more intricate, more ambitious in its recording and arrangement. Then came Muchacho, a juggernaut that to date has sold over 100,000 worldwide, with lead single “Song for Zula” now well over 50 million streams. Now, ve years later, Phosphorescent returns with his seventh studio LP, C’est La Vie. Recorded in Nashville at Matthew Houck’s own Spirit Sounds Studio, C’est La Vie reveals a crystallization of what made Muchacho such a breakout — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative.

A lot of life was lived between these records: Houck became a father (twice), built his studio, escaped New York. And C’est La Vie does have a hefty, career-spanning feel. But there’s a newfound wisdom, too, a deeper well for all that livin’. The magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. It’s not experimental, exactly, but it’s singular and it’s definitely not traditional. That knack, the through-line across the Phosphorescent catalog, is front and center here.

There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power, Marshall has released music for nearly 25 years now and her prowess as a songwriter, a producer, and most notably—as a voice—has only grown more influential with time. Wanderer, Cat Power’s stunning 10th studio album, marks a pivotal moment in both Chan Marshall’s life and her career. In the six years since the release of 2012’s Sun, Marshall has travelled the world, given birth to a child, and parted ways with her previous record label. Even though it was, in many ways, a period of profound upheaval and radical change, those experiences resulted in a record that is arguably the most assured artistic statement of her career. Produced by Marshall and mixed by Rob Schnapf (Elliott Smith, Beck), the album includes appearances by longtime friends and compatriots, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is, in many ways, a quintessential Cat Power record, with Marshall’s clarion voice front and center in a set of songs that remarkably stark and straightforward. But, if old Cat Power records might easily have been viewed as repositories for pain, Wanderer is, at its heart, a testament to the transformative nature of songs, an album-length imagining of alternate paths, redemptions, connections, and open-ended possibility.

Empress Of's debut album Me was released in 2015. As the name suggests, it presented a personal exploration of her emotional world. So personal, she says, it was difficult to perform. With Us, Rodriguez wanted to facilitate a more equal exchange of energy between herself and her listeners, to create a "community." "It's not just love songs. It's about different experiences of the heart," she says. "I want it to be like a mirror, and [the audience] sees a little bit of themselves in every song."

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonte Hynes returns with his fourth album as Blood Orange, Negro Swan. Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D’Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, FKA Twigs, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola and starring James Franco. Hynes’ newest album, Negro Swan, was written and produced by Hynes. Says Hynes: “My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

Minus the Bear is a product of the first two decades of this century. From their first show in 2001 to their impending dissolution at the end of 2018, the Seattle band thrived on the musical awakening in the era of the mp3, the internet, poptimism, and the crosspollinations generated from an expanded consciousness of new music forms. With their final EP, Fair Enough, Minus the Bear closes the book on their hybrid of art-rock, indie pop, and warehouse party appeal. The opening track “Fair Enough” went through a variety of permutations before the band found new meaning in its lyrical lament of lost passions and finding “the exact moment we turned it off”. The other songs of Fair Enough are a continuation and culmination of Minus the Bear’s diverse sounds. The up-tempo drumbeats, lush electronics, and nimble guitar work that initially set them apart are on full display during “Viaduct”. “Dinosaur” has the groove of early hits of “Fine + 2 PTS”, but crafted with the understated Steely Dan-eque delivery of their more current slow jams. The EP closes with a nod to their ongoing remix collaborations, this time with a rave-up reinvention of “Invisible” by Sombear.

MassEducation re-imagines St. Vincent’s #1 New York Times album, MASSEDUCTION, laying bare exquisite songwriting and beauty.

I Am Easy To Find is The National’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was recorded at Long Pond, Hudson Valley, NY with vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more. On September 3, 2017, director Mike Mills emailed Matt Berninger to introduce himself and in very short order, the most ambitious project of the National’s nearly 20-year career was born and plans for a hard-earned vacation died. The Los Angeles-based filmmaker was coming off his third feature, 20th Century Women, and was interested in working with the band on...something. A video maybe. Berninger, already a fan of Mills’ films, not only agreed to collaborate, he essentially handed over the keys to the band’s creative process. The result is I Am Easy to Find, a 24-minute film by Mills starring Alicia Vikander, and I Am Easy to Find, a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically side staged in favor of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.

After spending years writing and recording music by himself in various bedrooms and basements, Andrew Carter hit his stride with the debut Minor Poet album, And How!. Made on a creative whim with no outside expectations, the eleven-song collection combined Carter’s love of carefully-crafted pop with a loose, fun, off-the-cuff recording aesthetic. The album was released in 2017 and developed a small but loving fan base, and Minor Poet has grown from a passion project into a cross-country touring band with write-ups in publications such as American Songwriter, Magnet, The Wild Honey Pie, Impose, and more.

Minor Poet’s second album, The Good News, is a six-song collection that expands the boundaries of what constitutes the band’s sound. In just twenty-two minutes, the songs take apart the standard formulas of guitar-based rock and infuse them with vibrance and energy. On opener “Tabula Rasa,” interlocking guitars and a Farfisa organ carry the song through until everything drops suddenly into a doo-wop section that wouldn’t be out of place on a 1950’s

Jimmie Vaughans New Album Baby, Please Come Home available on CD, Digital and Limited Edition Aztec Gold Vinyl When it comes to the blues today, there are a handful of guiding lights to make sure the music stays true to its powerful source. The sound of pleasure and pain that first sparked musicians to create such a sound is a force that can never be underestimated. The mojo has to be there. Texas guitarist/singer Jimmie Vaughan has dedicated his life to making sure the blues not only stays alive, but remains full of life and an inspiration to all who listen. Hes held onto the spirit of the blues for more than 50 years, and he isnt about to stop now. Vaughans first studio album since 2011, Baby, Please Come Home is a rolling and righteous celebration of everything the blues can be.

“High Crimes” is the first album in 8 years from The Damned Things. Fronted by Keith Buckley (Every Time I Die) and backed up by the likes of Scott Ian on guitar (Anthrax), Joe Trohman also on guitar (Fall Out Boy), Andy Hurley on drums (Fall Out Boy) and Dan Andriano on bass (Alkaline Trio), The Damned Things sprung out of Ian and Trohman’s love of Thin Lizzy and catchy, dirty rock ‘n roll. The band’s Nuclear Blast debut was recorded by Jay Ruston (Fall Out Boy, Coheed and Cambria etc) and will be released April 26 2019.

Inspired by the warm, inviting sounds of ‘70s singer-songwriters like Jackson Browne and Graham Nash, Ryan Pollie wanted to make the most personal music of his career. He had released two albums as Los Angeles Police Department, and now he was ready to shed the protective barrier of his old band name — to make music, simply, as himself. Bolder and crisper than the albums he’s made as Los Angeles Police Department, his self-titled record emerges from a deeply collaborative place. He invited many of his closest friends over to his home to record the album, and a feeling of warm camaraderie shines through the music. “When somebody plays on a song, their character is in it,” he says. “I like to think all my friends are on this record. Their personality is in it. That was really important to me. I’m able to do what I do, mentally and emotionally, because of the people around me.”

Eclectic Canadian artist Lucette sophomore album  Produced by Sturgill Simpson,    Deluxe Hotel Room takes the traditional roots sound showcased on her 2014 debut (produced by Dave Cobb) with which she captured the attention of critics and fans alike with her breakout track “Bobby Reid”, a sauntering murder ballad that was featured on the Netflix special Nanette and has since garnered over 4-million Spotify streams to date.  Taking the first album sound for Deluxe Hotel she amplifies it by adding ethereal ambiance and emotive resonance to a foundation of R&B, pop and soul.  Lucette’s cutting, honest lyrics are informed by life experiences in love, loss and battling inner demons as she comes into her own both personally and artistically.

New to Vancouver (Canada), alternative/singer-songwriter and multi-instrumentalist Jon Bryant sought connection. After joining, spending time and eventually leaving an undisclosed ‘cult’, Bryant’s fascination with cults began to percolate and became the framework for his upcoming full-length ‘Cult Classic’, that releases on May 17, 2019 via Nettwerk.

Nashville-based singer-songwriter Caroline Spence will release Mint Condition, her third full-length release and her debut for Rounder Records, on May 3, 2019.

Mint Condition follows Spades and Roses, a 2017 release which earned accolades from journalists and her peers in the songwriting community. In bringing Mint Condition to life, Spence worked with producer Dan Knobler (Lake Street Dive, Erin Rae) and recorded at his Nashville studio Goosehead Palace, landing a guest appearance from Emmylou Harris and enlisting musicians from Spence’s previous projects and live band. The album was mixed by Grammy-winning engineer Gary Paczosa (Sarah Jarosz, Parker Millsap, Gillian Welch).

Inspired by the boundary-pushing production, rhythm, and pastiche of hip-hop, classic beat-infused rock like Talking Heads, Blondie, and The Police, and danceable indie music like Gorillaz and St. Vincent, House on Fire is the debut album from Kansas City's Hembree. One of NPR's Spotlight Artists to Watch and Rolling Stone's 'Best Artists We Saw at SXSW.'

Mac DeMarco returns with his newest album, Here Comes the Cowboy, the first album to be released on his new independent label, Mac’s Record Label. The album features lead single “Nobody,” and is available on May 10.

Since their inception in 2008, Defeater have stood apart as storytellers in the world of hardcore. Hailing from Boston, Massachusetts, the band’s lineup consists of Derek Archambault (vocals), Adam Crowe (guitar), Jake Woodruff (guitar), Joe Longobardi (drums) and Mike Poulin (bass). They have toured with the likes of La Dispute, Comeback Kid, and August Burns Red. Defeater will be the band’s fifth studio album

With a true brotherhood that comes from growing up together, indie rock band Ona merge all their musical history for their second album, Full Moon, Heavy Light. The band shares its name with a small town just outside of their home base of Huntington, West Virginia. All five band members of Ona were raised in the area, with a couple of guys knowing each other since grade school. The band agreed on their name after Jenkins happened to wear an Ona Little League ball cap to rehearsal. Ona unique has their sound stands apart from the country and bluegrass heritage that the West Viriginian state is known for. Explained in part by Nolte I grew up in the woods, but my dad only listened to glam rock, so sometimes it s hard for me to identify with the quintessential West Virginia image, The new record was produced by Drew Vandenburg (Of Montreal, Futurebirds, Deerhunter) and is the first signing on Tyler Childers' Hickman Holler Records.

Zagg is the debut full-length album by Jackie Cohen and the follow-up to her two introductory EPs released last year, Tacoma Night Terror Parts 1 & 2, which were called "utterly spellbinding" (The Line of Best Fit), "a stunning and complete debut" (Vinyl Me, Please), and "sleazy-listening glam" (The Guardian). The playing on Zagg – by Cohen with the Spacebomb House Band – and production – by Jonathan Rado (Foxygen) and Matthew E. White with freak-of-nature orchestral arrangements by Trey Pollard – is bright and beautiful across the whole grab-bag of love songs, laments, self-mortifications, meditations on sunscreen, hammer-anvil jams, and kit v. kit double drum cardio smash-bros looney tunes suicide pursuits. More than one of Jackie’s many nicknames, “Zagg" is also a shout out to her uncanny ability to select an unanticipated word or musical flourish, her disarming poetic acumen, her ability to zoom in and out at lightning speed and spin a phrase into a mantra, or the opposite of a mantra. Each song on this record is its own unique little world, keeping a listener delightfully off-kilter throughout the entire affair. Here’s the record. Listen hard. Read the signs. Pack a lunch. Enjoy.

Father of the Bride is the highly anticipated new album from Vampire Weekend, and is the band’s fourth full length release. It is the follow up to 2013’s Modern Vampires of the City, which won the Grammy for Best Alternative Music Album in 2014.

Father of the Bride is produced by founding band member Ezra Koenig, and Ariel Rechtshaid (Adele, Madonna, Charli XCX, Usher, HAIM, Solange, and others). The album features 18 songs, with an array of collaborations yet to be revealed. 6 of the songs from Father of the Bride will be released ahead of the full album.

Judah & the Lion return with their third album, Pep Talks, following their widely successful Folk Hop n’ Roll and their breakout hit, “Take It All Back.” The album is a mature step for the band, and blends uplifting, powerful anthems with more contemplative and emotional tracks. The album includes “Over my head” and “Quarter-Life Crisis” and features Kacey Musgraves and Jon Bellion.

Hailing from New Orleans, Tank and the Bangas formed in 2013 and bubbled into national consciousness after appearing on and winning NPR’s wildly popular Tiny Desk Concert contest in 2017.

Bad Religion began in the sprawling suburbs surrounding Los Angeles, with the teenage punks offering an impassioned counterpoint to a culture of consumerism and anti-intellectualism. Founding members Greg Graffin, Brett Gurewitz, and Jay Bentley were eventually joined by guitarists Brian Baker of Minor Threat, Mike Dimkich of The Cult, and drummer Jamie Miller of …And You Will Know Us by the Trail of Dead. Bad Religion have been highly influential force in modern punk, producing beloved international hits like “Infected,” “21st Century (Digital Boy),” and “Sorrow,” and building a devoted worldwide following.

Bad Religion are set to release their new album Age of Unreason, which can be described as  "a musical manifesto on the current political landscape.”  In a world still brimming with rampant anti-intellectualism, inequality and oppression, the band’s signature brand of sonically charged humanist dissent seems as relevant as ever.

When Seattle band Tacocat—vocalist Emily Nokes, bassist Bree McKenna, guitarist Eric Randall, and drummer Lelah Maupin—first started in 2007, the world they were responding to was vastly different from the current Seattle scene of diverse voices they’ve helped foster. It was a world of house shows, booking DIY tours on MySpace, and writing funny, deliriously catchy feminist pop-punk songs when feminism was the quickest way to alienate yourself from the then-en vogue garage-rock bros. Their lyrical honesty, humor, and hit-making sensibilities have built the band a fiercely devoted fanbase over the years, one that has followed them from basements to dive bars to sold-out shows at the Showbox. Every step along the way has been a seamless progression—from silly songs about Tonya Harding and psychic cats to calling out catcallers and poking fun at entitled weekend-warrior tech jerks on their last two records on Hardly Art, 2014’s NVM and 2016’s Lost Time. This Mess is a Place, Tacocat’s fourth full-length and first on Sub Pop, finds the band waking up the morning after the 2016 election and figuring out how to respond to a new reality where evil isn’t hiding under the surface at all—it’s front and center, with new tragedies and civil rights assaults filling up the scroll of the newsfeed every day. “What a time to be barely alive,” laments “Crystal Ball,” a gem that examines the more intimate side of responding emotionally to the news cycle. How do you keep fighting when all you want to do is stay in bed all day? “Stupid computer stupor/Oh my kingdom for some better ads,” Nokes sings, throwing in some classic Tacocat snark, “Truth spread so thin/It stops existing.” Despite current realities being depressing enough to make anyone want to crawl under the covers and sleep for a thousand years, Tacocat are doing what they’ve always done so well: mingling brightness, energy, and hope with political critique. This Mess is a Place is charged with a hopefulness that stands in stark contrast to music that celebrates apathy, despair, and numbness. Tacocat feels it all and cares, a lot, whether they’re singing odes to the magical connections we feel with our pets (“Little Friend”), imagining what a better earth might look like (“New World”), or trying to find humor in a wholly unfunny world (“The Joke of Life”). It’s a delightfully cathartic moment and the cornerstone of the record when they exclaim, in “Grains of Salt:” “Don’t forget to remember who the fuck you are!” Producer Erik Blood (who also produced Lost Time) brings the band into their full pop potential but still preserves what makes Tacocat so special: they’re four friends who met as young punks and have grown together into a truly collaborative band. Says Nokes: “We can examine some hard stuff, make fun of some evil stuff, feel some soft feelings, feel some rage feelings, feel some bitter-ass feelings, sift through memories, feel wavy-existential, and still go get a banana daiquiri at the end.” —Robin Edwards

Summer Of Sorcery', the follow up to the critically acclaimed 'Soulfire' is SVZ’s first album of original material in 20 years. It was written during the second half of the 'Soulfire' Tour and recorded at Stevie’s Renegade Studio September-November 2018. All 12 songs are original SVZ compositions, 1 recut from his Revolution Album, 1 outtake from the Lilyhammer Score, and 10 new songs. The album was recorded with the same members of The Disciples Of Soul that have been touring this past year. The album is a breakthrough artistically for Stevie in several ways, “My first five albums in the 80s were both very personal, and very political. I wanted the new material to be more fictionalized. The way records were when I grew up. Before it was an Artform. The concept (loosely) was capturing and communicating that first rush of Summer. The electricity of that feeling of unlimited possibilities. Of falling in love with the world for the first time. Obviously, there are occasional personal references, and a bit of what’s going on socially scattered throughout, but I achieved what I set out to do. I created a collection of fictional audio movie scenes that feel like Summer. I’m quite proud of it.” -Little Steven

Brian Fennell is a student of simplicity. As SYML (pronounced "simmel"), which translates to "simple" in Welsh, Fennell writes emotive songs that capture the ethos of his musical persona. Ultimately his songs are a kind and truthful depiction of emotion grounded by his gut-wrenching vocal delivery. This is SYML’s debut album.

U.F.O.F., F standing for ‘Friend’, is the name of the highly anticipated third record by Big Thief, set to be released by 4AD on May 3rd. The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience. Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era. Their first two back-to-back releases, Masterpiece (2016) and Capacity (2017), have been analysed, wept to, danced to, critically applauded, imitated, hummed idly, and shouted out loud. They have soundtracked crowded restaurants, difficult conversations, cowboy bars, yoga classes, night drives, and lonely bedrooms. U.F.O.F. was recorded in rural western Washington at Bear Creek Studios. In a large cabin-like room, the band set up their gear to track live with engineer Dom Monks and producer Andrew Sarlo, who was also behind their previous albums. Having already lived these songs on tour, they were relaxed and ready to experiment. The raw material came quickly. Some songs were written only hours before recording and stretched out instantly, first take, vocals and all. Others were explored in search of perfected moments of dynamic feedback and spiritual, rhythmic togetherness. A careful New Age sprinkle of mystical textures and stabs was added and kept in the mix only when all agreed that each element had become absolutely crucial to the tune. The completed palette feels classic, upfront and honest, with an occasional, welcome glimpse into the magic box.

2019 release. Frank Carter & the Rattlesnakes return with their third studio album End of Suffering. Recorded at Chapel Studios with Cam Blackwood (George Ezra/Jack Savoretti) and mixed by Alan Moulder (Nine Inch Nails/Queens of the Stone Age) - End of Suffering (named after the Buddhist term for enlightenment) is the sound of a band entering an entirely new realm of the senses, a forty minute rock 'n' rollercoaster of molten-hot bangers, scorched-soul ballads and grunge lullabies laced through with a lacerating lyrical honesty.

There are two phases of The Dream Syndicate. There was the band with revolving lineups that existed from 1982 to 1988 and made four albums including The Days of Wine and Roses and have influenced bands and delighted fans in the years since. And then there’s the band that reunited in 2012 and is closing in on its seventh year with nary a lineup change. This 21st Century version of the Dream Syndicate released How Did I Find Myself Here in 2017 to universal acclaim, no small feat for a band reuniting after almost three decades. With that reintroduction and a full year of touring behind them, the Dream Syndicate had the freedom to take it all somewhere new, to dig a little deeper, get outside of themselves a little bit. Their new album ‘These Times’ feels like a late-night radio show that you might have heard as a kid, drifting off into dreams and wondering the next morning if any of it was real. So, what does it sound like? If How Did I Find Myself Here was a 10 pm record, all swagger and cathartic explosion, then These Times is the 2 am sibling, moodier and more mercurial, the band acting as DJs of their own overnight radio station, riffing on an idea of what a Dream Syndicate album could be at this moment in time. It is Radio DS19. So, what’s it all about? Founder and singer/guitarist/songwriter Steve Wynn says, “These Times. That’s it. It’s all we’re talking about, all we’re thinking about. There’s no avoiding the existential panic of a world that’s hurtling somewhere quickly and evolving and shifting course by the hour. It seems like a lie to not address or reflect the things that we can’t stop thinking about—the whole world’s watching indeed.”

Through her folkloric mystique, otherworldly psychedelia, and a dash of enigmatic punk, Ahomale by Combo Chimbita catapults the sacred knowledge of our forebears into the future. Their second studio album and Anti- Records debut sees the visionary quartet drawing from ancestral mythologies and musical enlightenment to unearth the awareness of Ahomale, the album’s cosmic muse. Comprised of Carolina Oliveros’ mesmeric contralto, illuminating storytelling and fierce guacaracha rhythms, Prince of Queens’ hypnotic synth stabs and grooving bass lines, Niño Lento’s imaginative guitar licks, and Dilemastronauta’s powerful drumming, the lure and lore of Combo Chimbita comes into existence. Rooted in Colombia and based in New York, Combo Chimbita lives in the future. After playing together for years, these first-generation New Yorkers began experimenting with different traditional musical styles during their late night residencies at Barbès in Brooklyn. Exploring the connections between visual identity and improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals by Carolina Oliveros, who tightens the rhythm with her guacharaca.

Not everything appears instantly. Jesse Mac Cormack's astonishing debut album arrives unhurried: a work of ardent, kaleidoscopic art-rock that is at once a dazzling premiere and the culmination of a meticulous five-year evolution. Over the course of three EPs, the Montreal native has gathered accolades and refined his vision, nourishing a songwriting that is lavish and undaunted. Following early work that drew heavily from folk and roots-rock - Les Inrocks called him the 'new hero of modern folk' - the songs on Now are prismatic and forward-facing, recalling the adventurous pop of Tame Impala, Talk Talk and Perfume Genius.'If you succeed at being yourself, nothing can stop you,' Mac Cormack says. On 'Now,' he's succeeded. (And nothing will.) Pressed on limited edition milky clear vinyl.

Inclusivity is at the heart of Barrie, the Brooklyn five-piece made of Barrie Lindsay, Dominic Apa, Spurge Carter, Sabine Holler and Noah Prebish. And on their debut LP Happy To Be Here, their multidimensional take on classic pop sounds awake and present, like a group that’s daydreaming but firmly there with one another. Barrie, the band, is primarily her project; on the record, which she co-produced with Jake Aron (Snail Mail, Solange, Grizzly Bear), Lindsay plays guitar, piano, synth and bass. But still, Barrie is distinctly not a solo project, and Happy To Be Here—out May 3, 2019 via Winspear—is very much a full band record.

Happy To Be Here offers snapshots of the band coming together in the city, after having lived all over: Boston, Baltimore, upstate New York, London, São Paulo via Berlin. “The scaffolding of this album is moving to New York and finding t

BAILEN’s musicality springs from a very deep well, in fact, it’s in their DNA. Raised in New York City by their classically trained parents, siblings Daniel, David and Julia Bailen (fraternal twins and younger sister, respectively) immersed themselves in a record collection that included Simon & Garfunkel, Joni Mitchell, Carole King and The Band. Produced by GRAMMY-Award winner John Congleton (St. Vincent, The War on Drugs) the transcendent harmonies, striking arrangements and meticulous songcraft of BAILEN’s debut album, Thrilled To Be Here, are rooted in the young group’s unusual self-assurance, preternatural insight and potent lyrical bite.

Audiences from Manchester to Melbourne, London to Los Angeles, Newcastle to New York, and everywhere in between have been engulfed by the swell of eager sentiment propelled from a vociferous fanbase. Catfish and the Bottlemen possess a magnetic and dynamic focal point in McCann, renowned for posing everyday, easilyidentifiable observations through his lyrics.

“On Monday 15th January this year Dolores O’Riordan died in London. Two days later she was due to come into BMG and play us the song demos for a new Cranberries album. At this point none of us believed there would be another studio album from the band.

A couple of months later the remaining band members (Noel, Fergal & Mike) listened through to the vocals with producer Stephen Street and with the full support of Dolores’s family the decision was taken to take the vocal tracks and for the band to complete the recording of the album. This was a direct reaction to the strength of the material Dolores had left as her legacy.

The end result is a euphoric alternative rock album on a par with the band’s best work, and together with the striking album artwork (by original band photographer Andy Earl and original sleeve designer Cally Calloman), celebrates vitality and optimism albeit tinged with tremendous poignancy.”

—Alistair Norbury, BMG UK President

Double LP on green vinyl in same packaging as standard version & a bonus 7-inch with two non-album songs (on black vinyl). Includes coupon for full download. Indie Only. Limited Edition

The Mountain Goats are John Darnielle, Peter Hughes, Jon Wurster, and Matt Douglas. They have been making music together as a quartet for several years. Three of them live in North Carolina and one has moved back to Rochester. Their songs often seek out dark lairs within which terrible monsters dwell, but their mission is to retrieve the treasure from the dark lair & persuade the terrible monsters inside to seek out the path of redemption. As Axl Rose once memorably asked, in the song “Terrible Monster”: “what’s so terrible about monsters, anyway?” This is the question The Mountain Goats have been doggedly pursuing since 1991. They will never leave off this quest until every option has been exhausted. Thank you.

Remastered from the rare analog tape the special edition vinyl will be on 2LP for the first time. Limited double vinyl LP repressing of this 1988 debut album from the Rap kingpin. The Great Adventures Of Slick Rick topped Billboard's R&B/Hip Hop albums chart for five weeks and peaked at #31 on the Billboard 200 chart.

Josh Ritter is returning this year with a new full-length, his tenth studio LP and follow-up to 2017’s Gathering. The Americana songwriter’s latest album, Fever Breaks, spans 10 tracks recorded at Nashville’s RCA Studio A over the second half of the past year. Jason Isbell produced the effort, which features his band The 400 Unit playing backup. It’s an exciting confluence of talents, and the promised chemistry bears out on the album’s gritty lead single “Old Black Magic”.

A 3-disc bundle of the artist's pivotal new millennium pop party dance music, Ultimate Rave brings together CDs of 1999s Rave Un2 the Joy Fantastic and its 2001 remix Rave In2 the Joy Fantastic alongside a DVD containing the full-length performance version of Rave Un2 the Year 2000. Rave Un2 The Joy Fantastic features a surprising amount of guest artists (Chuck D, Eve, Gwen Stefani, Sheryl Crow) and a clutch of radio-friendly tracks while Rave In2 The Joy Fantastic was one of the first full releases for Prince's innovative NPG Music Club members; highlights include a remix of Hot Wit U that incorporates elements of the Prince-penned Vanity 6 hit "Nasty Girl" and the previously unreleased "Beautiful Strange." The live DVD Rave Un2 the Year 2000, Prince's epic 1999 New Year's Eve party, originally lensed for on-demand pay-per-view airing during the dawning of Y2K features special guests like Maceo Parker, Larry Graham, George Clinton, The Time and Lenny Kravitz and includes hits from across Prince's career ("Let's Go Crazy," "Purple Rain," "1999," "Raspberry Beret," "Kiss") plus amazing covers, rarities and cuts from Rave Un2 like "Baby Knows" and "The Greatest Romance Ever Sold."

Prince's Rave In2 The Joy Fantastic is available on limited edition purple vinyl for the first time. One of the first full releases for Prince's innovative online subscription service The NPG Music Club, was this remixed version of Rave Un2 The Joy Fantastic; highlights include a remix of Hot Wit U that incorporates elements of the Prince-penned Vanity 6 hit Nasty Girl and the previously unreleased "Beautiful Strange."

Prince's Rave Un2 The Joy Fantastic is available on limited edition purple vinyl. Prince had taken quite the ownership of the year 1999, so it was no surprise that the last year of the millennium was one of The Artist's biggest. The album was his only release for Arista Records and the last to be released under his unpronounceable symbol. It features a surprising amount of guest artists (Chuck D, Eve, Gwen Stefani, Shery Crow) and a clutch of radio-friendly tracks ("The Greatest Romance Ever Sold," "So Far," "So Pleased," "Hot Wit U," a cover of Crow's "Everyday Is a Winding Road").

Rob Thomas is one of the most distinctive artists of this or any other era - a gifted vocalist, spellbinding performer, and accomplished songwriter known worldwide as lead singer and primary composer with Matchbox Twenty as well as for his multi-platinum certified solo work and chart-topping collaborations with other artists. Among his countless hits are solo classics like "Lonely No More," "This Is How A Heart Breaks," and "Streetcorner Symphony," Matchbox Twenty favorites including "Push," "3AM," "If You're Gone," and "Bent," and of course"Smooth," his 3x RIAA platinum certified worldwide hit collaboration with Santana. 

Thomas made his solo debut with 2005's platinum certified "...SOMETHING TO BE" and immediately made history as the first album by a male artist from a rock or pop group to ever debut at # 1 on the Billboard 200.

Altin Gun was inspired by founder Jasper Verhulst’s passion for both Turkish folk music & psychedelia. Their new record Gece firmly establishes the band as masterful interpreters of Anatolian rock/folk & leading voice in the emergent global psych scene. It’s electric Turkish history reimagined for the 21st century, filled with funk-like grooves & explosive psychedelic textures. It’s the sound of a band both committed to its sources & excitedly transforming them.

AJR's highly anticipated follow up album to The Click.

Honk is the brand-new Best Of compilation album featuring the biggest hits and classic cuts from every Rolling Stones studio album from 1971 to 2016’s Blue & Lonesome. The 2LP collects 20 essential Stones’ tracks – including eight Top 10 singles, “Brown Sugar,” “Tumbling Dice,” “Angie,” “It’s Only Rock’n’Roll (But I Like It),” “Fool To Cry,” “Miss You,” “Emotional Rescue” and “Start Me Up.” and more. The album also features a live version of “Wild Horses” featuring Florence Welch.

The experience of Daniel Norgrens music is marked by connection: the artist to the band, the audience to the music, and the body to the soul. His latest album, Wooh Dang, out April 19, 2019 on Superpuma Records, will be Norgrens first worldwide release. Recorded live and entirely on a 16 track analogue rig the album captures the close chemistry between Norgren and his band, comprised of old friends Anders Grahn (bass), Erik Berntsson (drums), and Andreas Filipsson (guitar and banjo). An intertwining of analog instrumentation, live performance, and rural field recordings, Wooh Dang is rife with a deeply hopeful creative intention. It's red blooded, alive, and coursing with equal parts adrenaline and seratonin. Wooh Dang was a real fun album to make and to me its been the world for the last few years, says Norgren. Thanks for taking the time. I hope you enjoy it.

“All anyone wants to be is what they can.”

In an era when networked access to information is nearly universal and wearing influences on your sleeve is normalized, it often feels like everything’s been done. Which begs the questions: What’s the point of creating? Does the world need another still life of fruit? Another film about love? Does the world need another melody?

On Raw Honey, his second album as Drugdealer, Michael Collins colors these existential conundrums with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.

Collins, who never played an instrument, let alone received musical training in any formal capacity, began experimenting with sounds in 2009 after traversing the US on freight trains. After a few years crafting abstract sampledelia, he decided to forgo his experimental exercises in favor of teaching himself how to write the traditional song. In doing so, he made the decision to approach songwriting from the perspective of a listener, rather than a “musician.”

In 2013, Collins headed west and enmeshed himself in the Los Angeles underground scene. It was then that he began collaborating with players in the orbit of Ariel Pink, slowly over time crafting what would become Drugdealer’s debut album, The End of Comedy, a collection of sunlit songs as indebted to Laurel Canyon psych pop as it is Bacharian orchestration.

Raw Honey continues where The End of Comedy left off, with Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop. Built on the foundation of a creative partnership between Collins, Sasha Winn (vocals) and Shags Chamberlain(bass, production), Drugdealer is more a collective than band. Raw Honeyfeatures contributions of Josh Da Costa (drums), Jackson MacIntosh(guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.

Throughout Raw Honey, Collins and crew display their influences as a new tapestry, one woven with the recycled fibers from thousands of tapestries that have colored our collective listening histories. As evidenced throughout Raw Honey, Collins has an ear for penning numbers that would sound as at home on Classic Rock radio as they would at Zebulon in Los Angeles, where any of the contributors to Raw Honey could, perhaps, be found on any night of the week, on stage, or in the audience supporting another Angelino’s modern pop aspirations.

Rather than hiding behind a curtain or casually sidestepping AOR tropes, Raw Honey adheres to a modern kind of creation — one that cultivates influences and espouses reverence. An honest totem, Raw Honey isn’t tangled up in social norms, with Collins prefering to air his self-doubt as a northern star to guide like-minded people wherever they need to go.

Drugdealer’s Raw Honey will be released on April 19, 2019 via Mexican Summer.

Fat White Family’s first album Champagne Holocaust was released on April 1, 2013; an iconoclastic debut, a freakshow which reminded that, as with Throbbing Gristle/The Gun Club/Butthole Surfers/Jane’s Addiction before them, the outside is the only viable place from which to make true art. America beckoned, and all the temptations and troubles that go with the touring life. The carousel began to spin. When second album Songs For Our Mothers arrived in January 2016, the band were running on fumes. Incarcerated in a fiscal Gulag, every single member had developed serious problems with alcohol and/or hard drugs; most were homeless. They were just about held together by singer Lias Saoudi who had led, Rommel-like, from day one. Saoudi’s songwriting partner and band director Saul Adamczewski had been jettisoned from the band. Salvation came via the intervention of Domino, who signed the band and backed their frontman’s stratagem to move them away from temptation. In a sprawling suburb in the North of England they established Champzone studios and, bloodied but not unbowed, they hunkered down. The collective mission statement: to make a pop record, something to distance the band from the many Fat Whites imitators who had formed in their wake. Lias’ lyrical irony, previously adopted as a protective layer against insecurity and criticism, was discarded in favour of a forensic examination of the self, what the frontman describes as “a genuine mapping out of my innermost psychological landscape, without ever patronising the listener, which for me is the lowliest crime in lyricism.” Nathan Saoudi, Lias’ keyboard playing brother, honed his own songwriting contributions, and Adamczewski returned from both rehab and time working with his other band Insecure Men - freed from the past burdens of musically carrying the project, he sank his teeth in as producer-arranger. With the smoke cleared and the battlefield-free of casualties, Fat White Family re-emerge triumphant. Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and grandiose. It invites the listener in rather than repel them through wilful abrasion. In one of the most gratifying and unexpected creative volte face in living musical memory, the band you hate to love have stormed the palace, ceased the throne, and are set to embark are on their imperial phase as overlords of a kingdom of their own making. The struggle continues, always, but for now… Serfs Up!

On April 12, nine-time GRAMMY-winning singer-songwriter Norah Jones is releasing Begin Again, a collection of singles that gathers seven eclectic songs that Jones has recorded over the past year with collaborators including Jeff Tweedy and Thomas Bartlett. Begin Again will be released on 12” vinyl, CD, and as a digital album and features the new song “Just a Little Bit,” which was produced by Jones and features her on vocals, piano, and organ along with Brian Blade on drums, Christopher Thomas on bass, Dave Guy on trumpet, and Leon Michels on tenor saxophone. The singles Jones began releasing last summer ran the gamut from riveting electronic experiments to starkly acoustic folk ballads to organ-and-horn drenched soul songs. With the addition of three more previously unreleased songs, Begin Again presents seven snapshots of creativity from one of the music world’s most versatile and consistently intriguing artists.

The Ghost of Ohio, the second album released under the Andy Black moniker, is both a soundtrack to its comic book graphic novel counterpart and a thrilling standalone record of diverse anthems and ballads, in pursuit of a muse that transcends genre. The Ghost of Ohio saw Andy return to longtime collaborator John Feldmann, the producer and songwriter whose discography includes multiple Number One rock albums and gold/platinum certifications, including releases from Blink-182, 5 Seconds Of Summer.

Absolute Zero is Bruce Hornsby's fourth studio album as a soloist; his discography is eleven total studio albums, including his recordings as Bruce Hornsby and the Range and Bruce Hornsby and the Noisemakers.  The album was produced by Bruce Hornsby; Justin Vernon (Bon Iver) and Brad Cook co-produced "Cast Off" and Bruce Hornsby and Tony Berg, co-produced “Meds”.  Featured guest artists - yMusic, Jack Dejohnette, Blake Mills, Justin Vernon, The Staves, Sean Carey (Bon Iver), Henry Mancini Institute Orchestra - University of Miami (or the Orchestra of St. Hank’s as Bruce calls them), among others including Bruce’s band The Noisemakers.

Like their acclaimed ECM release Small Town of 2017 which The Guardian called "wistful and mesmerizing... tonally ingenious and haunting" Epistrophy by guitarist Bill Frisell and bassist Thomas Morgan was recorded at New York City's Village Vanguard. The new album once again captures the rare empathy these two players achieve together in this intimate environment. There are further poetic takes on pieces from the duo's beloved Americana songbook ("All in Fun," "Red River Valley," "Save the Last Dance for Me"), as well as another intense version of a composition by Paul Motian ("Mumbo Jumbo"), an artist whom both the guitarist and bassist knew well. Frisell and Morgan communicate the essence of Billy Strayhorn's "Lush Life" and the Frank Sinatra hit "In the Wee Small Hours of the Morning," so much so that the famous words seem to hang in the air even without a singer. At the center of the album is a pair of pieces by Thelonious Monk: the funky, angular "Epistrophy" and the ruminative ballad "Pannonica." And as with "Goldfinger" on Small Town, Frisell and Morgan offer a glowing duo interpretation of a melody-rich John Barry title tune from a James Bond film "You Only Live Twice."

Brutalism is quite possibly the best collection of songs in The Drums’ ten-year career. The album is defined by growth, transformation and questions, but it doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt. Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision. His intentions were rooted in pop, as they’ve always been. Back in The Drums’ previous iterations, however, the pressure was on Pierce to maintain the innocent and nostalgic sound of this surf-pop indie band and it didn’t allow him to explore sex, drug use, darker emotions or how he felt currently. Abysmal Thoughts was the first occasion he had chance to do that. Lyrically Brutalism is another giant step in that direction. It’s much more cut-throat. “I think there’s a parental advisory sticker on the cover!” laughs Pierce. “I didn’t have the courage to stand up for what I wanted before. I felt I had to keep things whimsical and that’s not who I am. It feels empty.” Sonically he had been devoid of external influences, so afraid of being accused of losing the purism of The Drums’ sound. Now he’s rediscovering music: everything from SOPHIE to 90s band Whale. They inspired the loop-based, breakbeat drums on ‘Kiss It Away’ and ‘Body Chemistry’. “I used to think our songs sounded like they were held together by scotch tape. These are more bulletproof.”

They say in the world of punk music nothing is given and everything is earned. Over the course of two albums PUP has given blood, sweat and vocal chords to earn every one of their accomplishments. This hard work has seen them go from scrappy young upstart on the mean streets of Toronto to bona fide punk rock heavyweights, garnering accolades from NPR Music, The New York Times, Pitchfork, and Rolling Stone. PUP have sold out headlining tours across the globe, played mainstages at major festivals and been nominated for awards but they have never stopped working, and from that effort they have emerged with their new album “Morbid Stuff.”

“Morbid Stuff” features 11 new songs that ooze passion, emotion and raw energy. This album captures the chaotically catchy, visceral sound that has already made PUP punk rock torchbearers and critical favorites, and continues to push and propel their music to the next level. “Morbid Stuff” is sure to draw in old and new fans alike to sing and shout along and share in the full experience of listening to PUP.

Drummer and composer Kendrick Scott returns with a 12-track song cycle titled, A Wall Becomes A Bridge. Produced by Derrick Hodge, A Wall is a musical and metaphorical journey exploring many themes: innocence (“Archangel”), acceptance (“Windows”), and insecurity (“Voices”). Scott is joined by hisOracle band: pianist Taylor Eigsti, bassist Joe Sanders, guitarist Mike Moreno, and saxophonist/flutist John Ellis. Within that singular meld of talent is secret weapon and turntablist Jahi Sundance, who immerses his own artful craft into the musicianship that surrounds him.

Ceschis music lives in some liminal space between left-field hip hop, folk punk and indie rock. Its hard to explain, so on planes he generally tells people that he sounds something like like Ed Sheeran, and they nod. He has worked with Saskatchewan, Canadian producer Factor Chandelier for over a decade as they formed the backbone of their Fake Four Inc. record label. Their 2015 record, Broken Bone Ballads built a cult following within the indie rap and DIY punk communities. 2019s Sad, Fat Luck is part eulogy to many lost friends, part breakup album, part US-born-Latino analysis of Trumps America, and part ode to aging. Features guest vocals from Sammus & Astronautalis. Sad, Fat Luck will be released April 5th, 2019 on Fake Four Inc

The Professor Longhair live album documents a performance underwritten by Paul and Linda McCartney. The album was recorded March 24, 1975 on the Queen Mary cruise ship docked in Long Beach, California, USA at a private party hosted by Paul and Linda McCartney. Highlights include the rollicking "Mess Around," and the standards "Stagger Lee," "Everyday I Have the Blues," "I'm Movin' On," and his hits "Mardi Gras in New Orleans" and "Tipitina." Henry Roeland "Roy" Byrd (December 19, 1918 – January 30, 1980), better known as Professor Longhair, was a New Orleans blues singer and pianist. He was active in two distinct periods, first in the heyday of early rhythm and blues and later on during the resurgence of interest in traditional jazz surrounding the start of the New Orleans Jazz and Heritage Festival. He influenced other New Orleans musicians such as Fats Domino, Allen Toussaint and Dr. John with his rumba, mambo, and calypso piano based blues sound. Available on 180g vinyl.

"BEST BEATLES!" IS THE THIRD VINYL ONLY
COLLECTION OF CASPAR'S BEST SONGS
FROM THE TWO CASPAR BEATLES ALBUMS
LIMITED EDITION OF 1000 COPIES!

BEST BEATLES! is a vinyl only collection of the most loved songs from the two Caspar Babypants Beatles cover albums BABY BEATLES! (2015) and BEATLES BABY! (2017). The track listing was curated based on feedback from children and parents and is a solid introduction to the Beatles for your kids. The song list is anchored by standard family favorites mixed with some more eclectic choices. The renditions of classic favorite Beatles tunes are sparse and thoughtful and fun and bright. This 140 gram black vinyl LP is a limited edition of one thousand so get them while they are hot off the presses! Caspar Babypants is the kiddie nom de plume of Chris Ballew from The Presidents of the United States of America.

In 2019 the legendary US band Kiss will bring their pyro-loving, make up-wearing, guitar-shredding live show to the world! It's KISSWORLD Kiss, America's #1 Gold Record Award winning group of all time in every category, have a stunning catalogue of rock n roll classics. "KISSWORLD - The Best OF Kiss" brings 20 of their best loved tracks together on one album. Iconic fan favorites such as "I Was Made For Lovin' You", "Rock And Roll All Nite", "Detroit Rock City" and others in one huge collection.

Based in Los Angeles, The Beta Machine’s McJunkins and Friedl are well known for their roles in the rhythm section of A Perfect Circle. The two first rubbed shoulders when they auditioned for Ashes Divide, led by A Perfect Circle’s Billy Howerdel. Recognizing a powerful creative bond that went beyond that band’s ranks, the duo was soon asked to join Puscifer, led by Tool frontman and APC co-founder Maynard James Keenan. Their associations still extend far beyond that cluster of bands: to Filter, Devo, Thirty Seconds to Mars, and Eagles of Death Metal. Friedl and McJunkins would take material incompatible with their other collaborations and stow it away for then-mysterious future use. As the pair continued to work together, the creative energy started flowing freely. The pair put a name to the energetic, futuristic sound they were developing: The Beta Machine. But they wouldn’t be alone in their mission. They had already worked and palled around with vocalist Claire Acey (of Nightmare of the Cat) and guitarist and keyboardist Nicholas Perez, who both gamely stepped up to join them for The Beta Machine’s lineup. The debut album is now available.

Limited to 1,000 Copies

Includes Signed 11x11 Screen Print

Led by vocalist, guitarist, and songwriter Jay Farrar, Son Volt became one of the leading bands in the alternative country community, attracting critical praise and an audience that was loyal if not always large. Farrar has collaborated with Ben Gibbard (Death Cab for Cutie), Steven Drozd (The Flaming Lips), Jeff Tweedy (Wilco) and several other well respected artists / musicians. Their upcoming album Union will be the bands 10th studio album mixes present and past into strong confluence.The thirteen new songs written by Farrar confront our turbulent politics and articulate the clarity and comfort music can offer in the tumult.

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.

With this collection, Lang Lang goes back to his first love - to the pieces that made him want to become a musician in the first place. Rediscovering the most popular and accessible pieces written for learners and lovers of the piano, this album is a journey; of inspiration, of discovery, fantasy and learning. It is a moment for Lang Lang to illuminate these classic pieces as the masterworks they truly are. It is also a reflection on the music that influenced him most during his early childhood, later in life coping with difficult moments, and working with young piano learners around the world. Music can change lives and Piano Book tells this story. "I dedicate this album to my wonderful piano students and all my friends around the world who love the piano as much as I do." Lang Lang

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) _performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. The performance took place at The National Opera Grand Theater in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski. Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Krzysztof Penderecki has been hailed as triumphant, as you can see and hear on this release.

Fifteen years after American Football’s highly influential self-titled debut album (American Football), the band reunited (now as a four-piece, with the addition of Nate Kinsella) and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come. American Football (LP3) is contemplative, rich, expressive, yet with a queasy undercurrent. Featuring guest vocals from Paramore’s Hayley Williams, Slowdive’s Rachel Goswell, and Land of Talk’s Elizabeth Powell, the album is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. There was a determination to let the songs breathe, to trust in ideas finding their own pace.

Having ended 2018 on a high note with the announcement of her fourth solo album On The Line—to be released March 22nd on Warner Bros. Records—Jenny Lewis has now unleashed the first taste of her highly anticipated return with the first single, “Red Bull & Hennessy

2018 marked the 35th anniversary for Megadeth, one of the most influential powerhouses in thrash metal.  All year long the band celebrated with various events, culminating in Warheads on Foreheads - with Dave Mustaine personally A&R’ing a new anthology honoring his legacy - 35 tracks for 35 years, on 3CD, Digital and 4LP. For the first time, a Megadeth anthology includes tracks from The System Has Failed, United Abominations, Endgame, Th1rt3en, Super Collider and the Grammy award winning Dystopia. “Warheads on foreheads” is a military term expressed when bombing missions are underway.

La Dispute is five close friends from the Upper Midwest with a firm passion for the concept of music and art as a medium for making new friends. As a result, La Dispute makes (or strives to make) music that is both artistically, technically, and emotionally engaging in hopes of establishing legitimate connections with any and all interested people, while encouraging dialogue between those people and themselves about things in life that truly matter and that truly last. La Dispute also carries a firm passion for the relevance of a live show, both for the bands involved and for the people in attendance, and will go to the grave believing that the environment created when strangers come together despite their differences to celebrate one important thing is invaluable and should not under any circumstances be taken for granted.

Single LP on magenta & blue swirl vinyl in same packaging as standard LP.  Includes coupon for full download. Indie Only. Limited Edition

When Ex Hex exploded onto the scene with their unfettered brand of rock and riffage, the power trio for our generation had finally arrived. Made up of Mary Timony (guitar, vocals), Betsy Wright (bass, vocals), and Laura Harris (drums), the group’s 2014 debut Rips was a gleaming collection of tightly wound gems that scored Best New Music honors from Pitchfork, the top spot on Magnet Magazine’s Best of 2014 list, and No. 11 in that year’s Pazz & Jop critics poll. Near-constant touring throughout 2015 and 2016 established the band as a force to be reckoned with: an audacious three-piece distilling rock music to its essence with formidable skills and a reputation for frenzied and unabashedly fun live shows.

On It’s Real, the group’s forthcoming second album, Ex Hex’s commitment to larger-than-life riffs and unforgettable hooks remains intact, but the garage-y, post-punk approach that defined Rips has grown in scale and ambition. What started as a reaction to the blown-out aesthetic of Rips would test the sonic limits of the power trio and lead the band on a quest for a more immersive and three-dimensional sound. Vocal harmonies are layered ten tracks deep, solos shimmer and modulate atop heaving power chords, and the codas linger and stretch toward new frontiers of sound. On first listen, you might think you’ve unearthed a long-lost LP carved from the space where crunch-minded art rock and glitter-covered hard rock converge, an event horizon at the intersection of towering choruses and swaggering guitars.

Significant Changes is a blend of vintage drum machine funk drawing heavily on Chicagos house blueprint - a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger.Hailing from the small town of Grand Forks, British Columbia - some 6 hours outside Vancouver - Jayda Guy grew up surrounded by nature, which sparked an early interest in biology. In 2018 she completed her Masters in Resource and Environmental Management specializing in environmental toxicology, wherein she specifically studied the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, BC. It was also the year that she finished recording her debut album as Jayda G - Significant Changes.

For his feelgood third solo album We Wanna BeHyp-No-Tized, Pavement co-founder Scott Kannberg best known to the musical world as Spiral Stairs concocted some of the most fun and accessible music of his storied career by expanding his musical repertoire. We Wanna Be Hyp-No-Tized is fun, infectious and musically compelling, while still managing to cover some hefty topics like the current rambunctious political climate. Reuniting the bulk of the dream team who assisted him on Doris & The Daggers bassist Matthew Harris (Oranger, The Posies), multi instrumentalist Tim Regan and good friend Kelley Stoltz, as well as former touring Preston School Of Industry drummer Jim Lindsay We Wanna Be Hyp-No-Tized is the most fully rendered encapsulation to date of Spiral Stairs inimitable aesthetic.

Debut album from ATO's priority developing artist, Nilüfer Yanya. Taking her inspiration from iconic songwriters such as Nina Simone and Jeff Buckley as well as modern influences Connan Mockasin and The Strokes, Nilüfer's music incorporates the city’s urban edge with beautiful wandering guitar lines, downtrodden soulful and jazz flickered melodies, on top of minimalist and atmospheric beats. Releasing 3/22 via ATO Records

Recorded at Los Angeles' Sargent Studios, the album sees Wallows reunited with Grammy award-winning producer John Congleton (St. Vincent, Alvvays, Future Islands) and captures the band's journey towards adulthood through 11 intimate, introspective tracks.