It’s country music but not as we know it which begs the question: Have these Bad Kids of 21st Century rock ’n’ roll finally grown up on their ninth studio album? Are they at peace with themselves? Have they made a record their parents could listen to? The Black Lips new album ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain’t another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren’t the usual clichés about drinking, honkytonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre by not sounding or dressing their musical predecessors. They also dug contemporary hip-hop and punk and actualized themselves Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band’s stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. Skidding onto the asphalt in a shower of sparks, they roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain’t your granny’s country album. And conversely this ain’t your mama’s Black Lips.
Get Fixed is the follow-up to last year’s acclaimed Vitriola. While the album was largely born out of the same sessions as Vitriola with founding drummer Clint Schnase, “Stranded Satellite” and “Black Hole Town” were recorded this year and feature touring drummer Pat Oakes.
Marigold is an urgent, multivalent meditation—and an expanded take on the blend of alt-country, indie rock and cerebral humanism that’s inspired the band’s ardent fan community. It marks their Rough Trade Records debut, offering what songwriter Evan Stephens Hall calls a “heart-first” perspective.
The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is a migrating spirit. The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles.
The follow up to FKA twigs’ critically acclaimed Brit Award and Mercury Prize nominated debut LP1 (2014, Young Turks). Widely regarded as one of the best albums of 2014 and selling over 340,000 records globally. Top-40 rapper Future appears on the album’s second single “Holy Terrain”, continuing a run of rap collaborations including an appearance on A$AP Rocky’s ‘Testing’ LP. Twigs will tour the US in November with a theatrical performance that debuted in May to universal acclaim as well as several major festivals (Afropunk Brooklyn and Atlanta, Flog Gnaw) Press campaign includes September i-D cover, multi-page feature in Vogue October issue, television appearances and more. Twigs is a cultural figure outside of the music realm as well: appearing in the feature film “Honey Boy” out 11/8/19, being named a creative director for Nike, and starring in a viral Spike Jonze-directed Apple ad
Half red half white vinyl. When Chris Stewart set out to write and record his third album as Black Marble, he was newly living in Los Angeles, fresh o a move from New York. The environment brought much excitement and possibility, but the distance had proved too much for the car he brought along. With it out of commission indefinitely, he purchased a bus pass and planned his daily commute from his Echo Park apartment to his downtown studio, where he began to shape Bigger Than Life. The route wound all through the city, from the small local shops of Echo Park to the rising glass of the business district, to the desperation of Skid Row. The hurried energy of the environment provided a backdrop for the daily trip. When Stewart finally arrived at his studio, he'd look through his window at the mountains and the sky, seeing the beauty that makes L.A. unique - the same beauty his fellow commuters, some pushed to the edge of human endurance, had seen. That was the headspace he was in when he began to map out the syncopated drums and staccato arpeggiation of Bigger Than Life, an ode to his new condition and a shimmering synth-pop response to it's cacophony. "The album comes out of seeing and experiencing a lot of turmoil but wanting to create something positive out of it," Stewart explains. "I wanted to take a less selfish approach on this record. Maybe I'm just getting older, but that approach starts to feel a little self-indulgent. So with this record, it's less about how I see things and more about the way things just are. Seeing myself as a part of a lineage of people trying to do a little something instead of trying to create a platform for myself individually." As with every Black Marble album, Stewart recorded, produced, and played everything you hear on Bigger Than Life using entirely analog gear, though the process was new. This time around, he wrote everything on his MPC and sequenced it live to his synths - only using the computer to record, not to create. "I try new approaches every time, which helps me stay engaged but also it's kind of a trick I play on the creative side of my brain," Stewart says. "Keeping one side of my mind busy on organizational creativity I think frees up the other side where the inspirational creativity comes from."
There is a closeness at the heart of Turnover's aptly titled new album, 'Altogether.' Though it's the first collection the trio has written while living on opposite coasts, the record actually represents the group's most collaborative and connected work to date, showcasing the intuitive, near-telepathic relationship frontman Austin Getz has developed over the years with his bandmates. Turnover first emerged roughly a decade ago in Virginia Beach, VA, but the group's critical and commercial breakthrough didn't arrive until six years later, when they cracked the Top 5 on the Billboard Heatseekers Chart with their acclaimed sophomore album, 'Peripheral Vision.' The band-which consists of Getz, his brother Casey on drums, and their childhood friend Danny Dempsey on bass-followed it up in 2017 with 'Good Nature,' a streaming smash that racked up roughly 40 million plays on Spotify alone and which Vice proclaimed to be "their best album yet." 'Altogether' demonstrates the band's eclectic mix of personalities from the very start, opening with a lo-fi, jazzy intro that quickly gives way to the driving drums and delay-drenched guitar of "Still In Motion." Like much of the album to come, the song is a meditation on change and perspective, on learning to quiet your mind and appreciate the moment before it's gone. The bittersweet "No Reply" reckons with guilt over failing to be present with a loved one, while the effervescent "Much After Feeling" recognizes the sacrifices we make to stay connected across geographical distance, and the breezy "Parties" grapples with the kind of self-consciousness that can leave us prisoners of our own design.
There is a core element to Chelsea Wolfes musica kind of urgent spin on Americas desolation blues thats existed throughout the entirety of her career. Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence. The songs stem from humble beginnings little more than Wolfes voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs in their own studio and helped fill them out with his modern production treatments and auxiliary flourishes from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favor of a more intimate atmosphere. The result yields Wolfes most devastating work to date.
Norman Fucking Rockwell! will be released on August 30, 2019 on Interscope Records. It is Lana Del Rey’s highly anticipated fifth studio album, following four previously released instant grats, including her Alternative radio hit, “Doin’ Time."
Two Hands, a completely new, fully-realized, 10-song album by Big Thief, will arrive just five months after their breakthrough U.F.O.F., one of the most acclaimed albums of 2019. In sharp contrast to the wet environment of the U.F.O.F. session, Two Hands had to be completely different— an album about the earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt. Anybody who has borne witness to Big Thief in the wild will find songs they recognize here. Much of the album’s tracks (“The Toy”, “Those Girls”, “Shoulders”, “Not”, “Cut My Hair”) have been live staples for years. Two Hands has the songs that I’m the most proud of; I can imagine myself singing them when I’m old,” says singer/songwriter Adrianne Lenker. With raw power, intimacy, and honor, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album.
Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved - heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses - with some of her finest songwriting to date. It's an album full of romance, a homage to Los Angeles where the album was recorded, to being a kid in the 80's, to films that touched and changed her life. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow. The women of Lost Girls are parallel to one of Khan's previous female protagonists, the tough, darkness-driven Pearl, from her 2009 lauded album Two Suns. Within the women of Lost Girls and the character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.
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Virginia Metalheads MUNICIPAL WASTE return with a fresh EP for fall 2019. It’s been few years and several hundred live shows since the Waste oozed out the much celebrated Slime and Punishment album. Back with 4 ripper tracks that embrace all the bands punk and street metal roots without clutching the past. That honest formula has led the Waste to innovate the festival scene with the opening track and party of the summer “Wave of Death”. Charged by the exotic and biting wit of vocalist Tony Foresta. Turbo charged by the dual guitar aggression of Ryan Waste and Nick Poulos. Locked in and ready for takeoff by rhythm section LandPhil Hall on bass and Dave Witte on Drums. Partiers, you’ve been taught the “Art” and now it is time for an advanced lesson. Thrashers on alert! MUNICIPAL WASTE is delivering, The Last Rager.
Devour marks the fourth full-length record from Margaret Chardiet's project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: "Devour" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at "balancing feedback", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief - nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. "ABOUT THE SHALLOWNESS OF SANITY"... To be well adjusted in this system is to be oblivious and unfeeling. This is for the rest of us, who understand that chaos, madness, pain and even self destruction are natural and inevitable responses to an unjust and disgusting world of our own making.
With their latest album Blood Year, Russian Circles forsake the sonic crossroads of divergent musical paths found on albums like Guidance and Memorial to offer up the most direct and forceful collection of songs in their discography. With guitarist Mike Sullivan, drummer Dave Turncrantz and bassist Brian Cook all residing in different states, Russian Circles have typically crafted their albums by piecing together song fragments and home recordings into meticulous texture-rich studio productions. But after seven tours in North American and five trips to Europe in support of 2016’s Guidance, the band made a conscious effort to approach the songs on Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerized grid, Russian Circles chose to track the foundations of the songs together in one room as complete takes without click tracks. While it retains the dexterity, multi-faceted techniques, and dramatic compositions that have been a trademark of Russian Circles since day one, Blood Year fully embraces the most forceful aspects of the band’s repertoire. The Album was expertly captured by Kurt Ballou at Electrical Audio in Chicago, the world-famous recording studio where they’d tracked Enter, Geneva, and Memorial.
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Thom Yorke’s new album ANIMA released summer 2109 was written by Thom Yorke and produced by Nigel Godrich. The album features 9 tracks, with an extra track exclusively on vinyl. A ‘one-reeler’ film, also entitled ANIMA , is available to watch exclusively via Netflix worldwide from midnight 27th June. Made by Paul Thomas Anderson to music from Thom’s album, the one-reeler has a run time of approximately 14 minutes.
The band’s fourth, The Fall, was released on 25 December 2010 as a surprise gift for paying fan club members, then on 18 April 2011 as an official release. This is the first time the album has been released on vinyl in North America.
First Taste is, as the title implies, a visceral shot of new flavor from Ty Segall. The followup to last January's extroverted Freedom's Goblin, First Taste cross-fertilizes Ty's antisocial side (think: Emotional Mugger) with the wide-ranging humanism of Manipulator and the pop zazz of the aforementioned Goblin. This means an immaculate sequence of sides with Ty playing multiple parts with and without contributions from the Freedom Band. Ty's songwriting confidence is at an apex, and he moves from style to style, evoking directions in rock, lite pop, experimental, alternative and even afrobeat! Ty at 12 (albums) = his best yet?
2019 release, the second collaborative studio album by rapper Freddie Gibbs and record producer Madlib. Entirely produced by Madlib, it is the follow-up to their critically acclaimed 2014 album Piñata, and their sixth project as MadGibbs overall. The album features guest appearances from Pusha T, Killer Mike, Anderson.Paak, Yasiin Bey, and Black Thought.
When I Get Home is the new album from Grammy Award-winning singer/songwriter and visual artist Solange Knowles. This release represents the next phase in Solange's evolution as an artist, and is the follow up to her critically acclaimed 2016 album A Seat at the Table. The album is an exploration of origin. It asks the question how much of ourselves do we bring with us versus leave behind in our evolution. The artist returned to Third Ward Houston to answer this. When I Get Home was written, performed, and executive produced by Solange, and includes contributions from Tyler, the Creator, Chassol, Playboi Carti, Standing on the Corner, Panda Bear, Devin the Dude, The-Dream, and more. It also features samples from Third Ward's own Debbie Allen, Phylicia Rashad, poet Pat Parker, and Scarface.
After a decade in the wilderness, David Berman has returned to record-making - this time around as Purple Mountains, leaving his iconic Silver Jews brand to history. Fortunately for all the fans, he's retained his iconic songwriting style, with a new batch of tunes conveying an astonishing variety of 21st-century mid-life crises. Featuring full-on technicolor production intervention from Woods' Jarvis Taveniere and Jeremy Earle, Purple Mountains debut stands tall among Berman's classic albums, with knee-slappers and eye-wipers alike - ten new tracks ready to go into suffering jukeboxes across the land.
In Spring of 2019, The Tallest Man on Earth will release his first album in 4 years. I Love You. It's A Fever Dream. Was written, produced and engineered by Kristian Matsson and was recorded almost entirely in his apartment in Brooklyn, NY. When asked for some insight into the album, Matsson says "Here's what I can tell you: Of course there are some love songs and then there are some other songs. Making the album I was thinking a lot about the lenses we view our lives through and that, for some reason, our worst tendencies seem to be carried out so loudly, while our best can go unnoticed. I've come to realize that some of the most powerful, most inspiring moments in my life have been the most subtle and that so often the thing that deserves my attention, is trying the least to get it."
James Blake has long been a hip-hop ally. Not only has his own discography cemented him as a critically acclaimed artist, the multiple Grammy award-nominee and Mercury Prize winner has worked with artists from the likes of Drake, Beyonce, Kendrick Lamar, Travis Scott, Frank Ocean and more. 2018 was a massive year for the producer, singer and song-writer who collaborated with Kendrick Lamar on the era-defining Black Panther soundtrack and lent his vocals to Travis Scott's "Stop Trying To Be God."
In honor of the 70th anniversary of its original singles in 1949, The Complete Birth of the Cool by Miles Davis is being released on 2LP. The record features Miles Davis’ classic Birth of the Cool as well as a second LP of live material from 1948, previously unreleased on vinyl. The package features a wrapped gatefold jacket with laminated coating, as well as a brand new retrospective essay by Ashley Kahn, the author of Kind of Blue: The Making of the Miles Davis Masterpiece. Legendary Jazz saxophonist Gerry Mulligan and Jazz historian Phil Schaap provide liner notes on the project, which were originally published in 1998. The first LP is mastered from analog tape of the original singles for the first time since the original Birth of the Cool release in 1957.
As you listen to Shepherd In a Sheepskin Vest, a feeling of totality, of completeness, steals over you, like a thief in broad daylight. Of course it does – you’re listening to a new Bill Callahan record! The first one in almost six years! What more do you need to complete you?
Or perhaps, after all the time, the obvious needs to be made just a little more explicit?
First, it’s a different kind of record. Bill’s now writing from somewhere beyond his Eagle-Apocalypse-River headspace, and Shepherd In a Sheepskin Vest is very much its own beast. The songs are, by and large, shorter, and there are more of them. It took almost all of the previous three albums to add up to that many. Plus, twenty’s a lot of songs! But again, it goes a lot deeper than that.
Two Door Cinema Club's highly-anticipated fourth album False Alarm finds the three piece gloriously unshackled and creatively at the peak of their game. Across it's ten tracks, False Alarm wryly scans and satirizes the social and environmental woes of 2019 through the prism of wonderfully off-kilter pop, simultaneously borrowing from and warping elements of future pop, disco, rock, funk and soul. Recorded in sessions between London and LA with producer Jacknife Lee (U2, REM, The Killers), it's an LP that takes the familiar and twists it, to startling and stimulating effect.
METZ, our own widely-adored and delightfully noisy 3-piece punk band from Toronto (ON, CANADA), have been laying waste to stages around the globe for over 10 years. During that tumultuous chunk of time METZ, comprised of Alex Edkins, Hayden Menzies, and Chris Slorach, have cemented their reputation as one of the planet's most exhilarating live acts and trusted providers of bombastic outsider rock. Along the way, they’ve earned enthusiastic support from The New Yorker, Mojo, NPR, The New York Times, KEXP, Pitchfork, Stereogum, The AV Club, Q, Uncut, Exclaim, and a bunch of others. Referring to the trio's tireless tour regime and unquenchable thirst to bring their music to the people, John Reis (Hot Snakes, RFTC, Drive Like Jehu) once said, “your ambition is really unflattering, chill out.” They did not listen. Instead, their love of the road and passion to create uncompromising and challenging music remains unwavering and has only grown over time. Their recorded output to date, a cornucopia of pop-inflected noise punk and damaged fuzz anthems, includes 3 critically-acclaimed LPs with Sub Pop, as well as a plethora of limited-edition releases, collaborations, covers, and rarities. Which brings us to Automat, a collection of non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band's long out-of-print early (pre-Sub Pop) recordings. Included here are the band’s first three 7” singles, recorded 2009-2010 and originally released by We Are Busy Bodies Records; a demo version of “Wet Blanket,” the explosive single from 2012’s METZ; two tracks from the limited-edition bonus single that accompanied preorders of METZ; “Can’t Understand,” originally released in 2013 by [adult swim]; and both tracks from the band’s 2015 single on Three One G. Consumers of the vinyl format of Automat will be rewarded with a bonus single that includes three additional tracks: a cover of Sparklehorse’s “Pig,” from a very limited 2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of The Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and METZ’s previously unreleased rendition of Gary Numan’s “M.E.” All tracks on Automat have been lovingly remastered for maximum soundiness by Matthew Barnhart at Chicago Mastering Service. METZ are currently hard at work on their 4th full-length LP which will be released on Sub Pop when we are all damn good and ready.
Wear Your Wounds was created by Converge founder Jacob Bannon. Initially conceived as a solo project, it evolved into a five-piece band that often works with collaborating musicians. In 2017 Wear Your Wounds released "WYW" (the debut double album) and "Arthritic Heart" (a New Noise Magazine single). A live band was then assembled for a number of shows including Roadburn Festival 2017 and Desert Festival UK. Later on that year their "Dunedevil" (an experimental album) was released; a companion piece to Bannon's abstract art book of the same name. In 2018 Wear Your Wounds released their "Live at the BBC" 12" LP at Maida Vale Studio (MV4). That year Wear Your Wounds also played select shows on the East Coast and Europe including an appearance at Roadburn Festival 2018, which was also curated by Bannon."Rust on the Gates of Heaven" is the new album from Wear Your Wounds.The release marks the first time the official lineup of the band; Jacob Bannon (Converge), Mike McKenzie (The Red Chord, Stomach Earth, Unraveller, etc), Adam McGrath (Cave In, Nomad Stones, etc), Sean Martin (Twitching Tongues, ex-Hatebreed, ex-Kid Cudi), and Chris Maggio (ex-Trap Them, ex-Sleigh Bells, etc) have properly written and recorded together. It also features musicians Ben Chisholm (Chelsea Wolfe, White Horse) and Gared O'Donnell (Planes Mistaken For Stars, Hawks and Doves) collaborating throughout.
When Julia Shapiro flew home from a cancelled Chastity Belt tour in April 2018, everything in her life felt out of control. Dealing with health issues, freshly out of a relationship, and in the middle of an existential crisis, she realized halfway through a tour supporting her band’s third album I Used to Spend So Much Time Alone that she was going through too much to continue. “I was really struggling; I was really depressed. I felt like I couldn’t sing or be a person,” Shapiro recalls. “At that point I couldn’t even imagine playing a show again, I was so over it.” Returning home to a newly empty Seattle one-bedroom apartment, Shapiro had wanted for a long time to learn how to record and mix her own music, and out of the uncertainty of the future of her music career and her health, she began to record the songs that would become Perfect Version, her solo debut for Hardly Art. What she created in the space of ten songs is an intimate and beautifully self-aware examination of feeling lost in the life you’ve created for yourself. It’s an album of shimmering guitars and layered vocals that feels vast in the emotional depth it conveys and masterful in the way each song is intentionally crafted and recorded. Over the course of a tumultuous year of trying to find stability amidst depression and surgery, Shapiro ultimately rediscovered the parts of music that she loved through the process. Her perfectionist qualities create an album that shines in tiny lyrical moments and meticulous guitar parts. “When the rest of my life felt out of control, I felt like this was my chance to be in control of everything,” says Shapiro. She plays all the instruments (save for a mouth trumpet solo by Darren Hanlon and guest violin by Annie Truscott) and after recording and mixing the first batch of four songs at the Vault studio with Ian LeSage decided to record the final six tracks alone in her apartment, adding drums in the studio later and learning to mix them with the help of her friend David Hrivnak. Perfect Version is a fully realized vision from a gifted songwriter finding a more intimate voice. “So what comes next?” she questions on the album closer “Empty Cup” which explores the quiet satisfaction of being alone with yourself and creating a blank slate. “A lasting sense of self,” she concludes.
FULL OF HELL make their Relapse debut with their most explosive album to date, Weeping Choir. Dynamic, pissed, and wholly urgent, the highly anticipated Weeping Choir is a definitive statement of intent by one of the underground’s most dynamic and virulent entities. FULL OF HELL have once again culled the extreme elements from hardcore, metal, and power electronics to redefine darkness and sheer brutality. Distorted guitars, and ominous, disparate electronics grind and gnash against rapid-fire drumming, as FULL OF HELL take themes of religion, loss, hatred, and set them ablaze. Recorded by the critically acclaimed Kurt Ballou at GodCity Studio, Weeping Choir sees FULL OF HELL fully unleashed. Abrasive, confrontational, none equal!
An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body and face a weapon of theatre, Harding dances with steeled fervor, baring her teeth like a Bunraku puppet’s gnashing grin. Her debut release with 4AD, 2017’s Party (produced with the award-winning John Parish (PJ Harvey, Sparklehorse) introduced a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside. In April, Aldous Harding returns with Designer less than two years after the breakthrough album. “Haunting.” - NPR “Quiet, cryptic, utterly arresting...her exposed voice is riveting, changing character from song to song.” - NY Times “Harding maintains the quiet charm of her past work, while embracing a new role as a chanteuse of sorts” - Pitchfork
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Limited Red Vinyl, 45th Anniversary Edition of DIAMOND DOGS featuring the 2016 remaster.
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.
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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.
‘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.
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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
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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.”
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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.
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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.
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"
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.
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.
2019 is the 40th anniversary of Elton John's historic first tour of Russia - he was the first Western rock star to ever perform in the country. The show in Moscow on 28th May 1979 with Ray Cooper was broadcast on BBC radio in the UK. This release is taken from the original broadcast masters, which have been remastered by Bob Ludwig at Gateway Mastering. Now available on 180g, 2 LP vinyl in gatefold package.
Wolf Parade - Dan Boeckner, Spencer Krug, and Arlen Thompson - will release Thin Mind, the group’s fifth album for Sub Pop, on January 24th, 2020. The 10-track record was recorded by John Goodmanson at Risque Disque on Vancouver Island, BC, mixed by Goodmanson at Bogroll Studios in Seattle, WA, and mastered by Noah Mintz at Lacquer Channel Mastering in Toronto, ON. Thin Mind has sci-fi, post-apocalyptic and dystopian narratives interwoven throughout. These themes emerged while working at Risque Disque, which Boeckner jokingly describes as a Dutchman’s failed utopia, a problematic structure with a post-apocalyptic vibe: the studio is housed in a stone barn hand-built by the Dutchman in the middle of the woods, using local materials and based on his memory of a building he loved growing up in the Netherlands. Thin Mind finds the core members of Wolf Parade working as a trio, as they did on past albums Apologies to the Queen Mary and At Mount Zoomer, with songwriting duties evenly split between singers Dan Boeckner and Spencer Krug. The album includes the singles “Forest Green,” “Julia, Take Your Man Home,” and “Against the Day,” the latter of which features a rare, co-vocal performance from Boeckner and Krug.
Aurora features reimagined versions of the band’s biggest and most popular songs with special guests including Lacey Sturm (ex-Flyleaf), Scooter Ward(Cold) and Spencer Chamberlain (Underoath), to name a few. Speaking about Aurora, BREAKING BENJAMIN’s founder/frontman, Ben Burnley, had this personal message to share,”This album is a celebration of our incredible fans; for those who have been there since hearing ‘So Cold’ for the first time in 2004, and the new ones who have joined us on this amazing journey along the way. We’ve always shared a unique emotional connection to our music with our fans, and this album attributes to those dark times and euphoric ones. From wherever you joined along the road to Aurora, this one is for you. Thank you.”
ANDY SHAUF is becoming one of the most important songwriters of his generation. His songs are tuneful vignettes of small moments and big hearts. On his latest, The Neon Skyline, Shauf intertwines stories of a group of friends who frequent a local dive bar, and through them, makes poignant observations about human nature with a novelist’s detail and melancholic humor. The songwriting is down to earth, yet sophisticated and inventively melodic. The Neon Skyline is a creative leap for this already acclaimed artist.
Van Morrison’s 1970 album that includes the singles Domino, Blue Money, and Call Me Up In Dreamland. Presented on 1LP, 140g turquoise vinyl.
Originally released in 1977, Never Mind The Bollocks is the only album from the legendary punk band Sex Pistols. Presented on 1LP, 140g pink vinyl.
GRAMMY Award-nominated, multi-Platinum artist and alternative pop maverick Halsey returns with her third full-length album Manic featuring her 5x Platinum hit "Without Me" and "Graveyard." The success of "Without Me" has made Halsey the first and only female artist to have at least three songs chart on the Billboard Hot 100. It now ranks as the longest-running Billboard Hot 100 top 10 hit by a female artist of this century.
...And You Know Us By The Trail Of Dead are celebrating their 25th year as a band in 2020 and they will be releasing their 10th album "X: The Godless Void and Other Stories" on 1/17 via Dine Alone. This is their first album since 2014.
Grammy Award-winning vocal group Little Big Town announce the release of their ninth studio album Nightfall, and accompanying headline tour, The Nightfall Tour. The foursomes’ new album will drop January 17, 2020 succeeding a once-in-a-lifetime performance at the historic Carnegie Hall in New York City on January 16, 2020. This is the first mainstream country performance featured at Carnegie Hall since Alan Jackson in 2013. The tour will continue the following two nights at The Apollo and will proceed all spring in over 30 of the most prestigious theaters in the country, closing with two nights at Denver’s art deco gem, The Paramount. Every show excluding Carnegie Hall will feature critically acclaimed singer-songwriter Caitlyn Smith.
In celebration of the 2020 GRAMMY® nominees, the Recording Academy®'s GRAMMY Recordings® and Warner Records will join forces to release the 2020 GRAMMY Nominees album on Jan. 17, 2020, in stores and via digital retailers. The 26th installment of the best-selling series will feature a diverse collection of the year's most impactful GRAMMY-nominated music for the upcoming 62nd Annual GRAMMY Awards®. A portion of album proceeds benefit the year-round work of the GRAMMY Museum® and MusiCares®—two charitable organizations founded by the Recording Academy committed to music education initiatives and providing critical assistance for music people in need. Music fans can pre-order the album at 2020GRAMMYalbum.com or cbs.com/GRAMMYs and enter for a chance to win a trip for two to the 62nd Annual GRAMMY Awards on Sunday, Jan. 26, 2020, at STAPLES Center in Los Angeles.
First time on vinyl. 6 disc box set. In looking at how this September 1997 tour was structured, this could have been a show to skip - or maybe not. This was the fourth show in a row to open the tour, on a Monday night, involved crossing an international border, at a real small place so it might be real crowded. All of that could keep some from making the trip, but for others, those were exactly the reasons to go...and possibly collect the rewards for doing so. The band just seems to have a knack to know when the fans have gone out of their way and really paid some dues to make it. Or when a local crowd gets it. In either case, and in terms of this Montreal 1997 show, both cases, Widespread Panic gets off on that and then seems to go that extra mile.
Warren Zevon’s top selling 1978 album. Includes the classic single Werewolves of London. Reissue on 140g, Glow-In-The-Dark vinyl.
"Black Hole Rainbow” was produced by Grammy Award-winning producer Shawn Everett (Alabama Shakes, The War On Drugs) in his iconic Downtown LA studio, with additional album production from Ariel Rechtshaid (Vampire Weekend, HAIM). Shortly after wrapping the recording, Devon and a team from Capitol embarked on a trip to South Africa to grasp the creative vision for the new record. One which you can see very clearly through the imagery associated with the roll out. “Get Out and Get It” was the first single and music video to be release, landing in the top 15 at AAA radio. “Even Though It Hurts” followed not long after with a visualizer and saw a lot of love from fans and critics alike. The upcoming record named “Black Hold Rainbow” will undoubtedly be one of the best debuts in 2020.
The 40th Anniversary Edition of Bad Company’s 1979 album, Desolation Angels. Features the hit single, Rock ‘n’ Roll Fantasy. Contains newly remastered audio on 2LP black vinyl along with various outtakes and alternate takes of various tracks from the album.
New Vinyl: $8.98 Add to Cart
Seven inch vinyl pressing of this single lifted from the alt-rock supergroup's 2019 album Help Us Stranger.
THE APOLLO: Original Motion Picture Soundtrack is the audio accompaniment to the HBO documentary released November 6. Helmed by Oscarr and Emmyr-winning director Roger Ross Williams, THE APOLLO chronicles the unique history and contemporary legacy of New York City's landmark Apollo Theater. The soundtrack album is produced by the film's music supervisors, Grammy-nominated Dondi Bastone and TunesMap founder G. Marq Roswell, and mastered by Ian Sefchick at Capitol Studios.
Director J.J. Abrams once again takes viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come. Features a returning cast that includes Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels and Billy Dee Williams and a powerful score by Academy Award winning composer John Williams.
The 20th Anniversary of The Slim Shady LP is set to release on 3LP 180 gram vinyl and 2CD on 13th December, 2019 in an updated Expanded Edition including bonus tracks, rarities, a capella’s, freestyles, and instrumentals.
Originally released on 23rd February, 1999 The Slim Shady LP turned Eminem from an underground rapper into a high-profile celebrity. The album featured production from Dr. Dre, the Bass Brothers, and Eminem himself. The Slim Shady LP is his first album with a major label after his first album Infinite was released on an independent label in 1996. The majority of the album’s lyrical content is written from the perspective of the rapper’s alter ego Slim Shady, whom the rapper created on the Slim Shady EP (1997).
The Slim Shady LP went on to be certified quadruple-platinum by the Recording Industry Association of America (RIAA) and has sold over 18 million copies worldwide.
Fear Inoculum is the long awaited new album from TOOL, and the band's first new album in 13 years. The “Expanded Book Edition” includes five 3D lenticular cards featuring exclusive graphics, 56 page booklet with additional art and an access card to download the groundbreaking immersive visual experience, “Recusant Ad Infinitum.”
Peaky Blinders is a British crime drama television series primarily set in Birmingham, England following aftermath of World War I. Starring Cillian Murphy as ‘Tommy Shelby’ – the gang’s leader, the show follows the exploits of the Shelby crime family. The fictional gang is loosely based on the Peaky Blinders, a real urban youth gang who were active in the city from the 1890’s and early twentieth century. The show is known for its dark and dramatic soundtrack. The soundtrack is a window into the mind of Tommy – a tortured ex-soldier with a sensitive side who appears to be suffering from PTSD after fighting in the trenches during World War One.
This 2CD & 3LP set will feature music and key clips of dialogue from all 5 series the show, the 5th series aired late 2019 to critical acclaim. The album will feature Nick Cave’s title opening track Red Right Hand and PJ Harvey’s cover recorded exclusively for the show. Other artist’s music featured on the show and set to appear on this release are The White Stripes, Laura Marling, Arctic Monkeys, Royal Blood, Radiohead, The Last Shadow Puppets, Queens of the Stone Age, David Bowie, Foals, Black Sabbath, Idles, Joy Division and Ricard Hawley who has covered Bob Dylan’s “Ballad Of A Thin Man”.
New Vinyl: $59.98 Add to Cart
To mark the 10 year anniversary of their Brit Award winning & Grammy nominated debut album ‘Sigh No More’, Mumford & Sons are thrilled to announce a Limited Edition 7” Collectors Boxset of this special release.
Relive the best selling album across 6 individual 7” records, housed in a bespoke gatefold holder.
Only The Song Survives is the definitive collection of John Hiatt's musical output spanning two decades of releases on New West Records. The vast box set includes eleven albums, spread across fifteen long play records, all pressed on high quality 180g vinyl. Four releases - Crossing Muddy Waters (2000), The Tiki Bar Is Open (2001), Beneath This Gruff Exterior (2003) and Master Of Disaster (2005) - have been remastered for vinyl and pressed on wax for the very first time. The box set's 48-page book is autographed by John Hiatt and features rare photos, testimonials, essays and insights from many of Hiatt's co-conspirators throughout his career - from Ry Cooder, Steve Earle, Sonny Landreth, Patterson Hood, Luther Dickinson, Rodney Crowell, James McMurtry and more.
New Vinyl: $199.98 Add to Cart
The 42 tunes that make up Miles Davis’ famed quintet sessions – feat. John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones – have nearly all become classics, and have resulted in several iconic albums. Originally released in 2006, this critically acclaimed collection returns to vinyl format. Includes 6 LPs, plus a 20-page booklet with notes by Jazz historian Bob Blumenthal. The final LP contains audio recordings from eight TV and radio performances by the quintet.
LP1-2: 1999 album (remastered for the very first time)
LP3-4: Promo mixes & B-sides (remastered)
The Deluxe Edition features Prince’s iconic album,1999, remastered for the very first time
The set also includes 18 Promo mixes and B-sides that Prince officially released in and around 1982
“I didn’t want to do a double album, but I just kept writing... I always compare songwriting to a girl walking in the door. You don’t know what she’s going to look like, but all of a sudden she’s there.” Prince, November 1982
(Minneapolis, MN – September 10, 2019) – Considered one of the most iconic and influential double albums in rock history, Prince’s 1999 was released at a major turning point in the artist’s career. After years of being relegated to the R&B charts, he experienced his first true crossover moment with the mega-hits “Little Red Corvette,” “1999,” and “Delirious,“ shattering barriers with his revolutionary blend of rock, funk, R&B and new wave pop, and making history by being one of the first black artists to have their videos in heavy rotation on MTV.
The songs included on 1999 were just a small sampling of the work that was pouring out of Prince in the intensely prolific period of 1981 and 1982. In addition to his own material, he was also working up tracks that he would give to his protégés Vanity 6 and The Time, and recording dozens of songs that would be stored for possible later use, archiving them in his growing vault of unreleased material.
This November 29, The Prince Estate, in partnership with Warner Records, will reissue 1999 via all physical, digital and streaming partners, with the timeless album remastered for the very first time, along with 35 previously unreleased tracks from Prince’s legendary vault that showcase the creative flow Prince had tapped into during this era.
The reissue suite will be comprised of the following formats:
• Super Deluxe Edition (5CD+DVD / 10LP+DVD / audio-only download and streaming)
• Deluxe Edition (2CD / 4LP 180g vinyl / download and streaming)
• Remastered album (1CD / 2LP 180g Purple Vinyl / download and streaming)
The 1999 Super Deluxe Edition represents the deepest dive to date into Prince’s vault and includes a total of 65 audio tracks across five CDs and ten 180g vinyl records.
The Super Deluxe Edition brings fans all the audio material that Prince officially released in and around 1982, as well as 23 previously unissued studio tracks recorded between November 1981 and January 1983, and a complete live audio performance of the 1999 tour recorded at the late show (the second of two that day) in Detroit, MI on November 30, 1982.
In addition, both CD and vinyl sets also boast a brand-new DVD containing another complete, previously unreleased concert from the 1999 tour, recorded in multi-cam live at the Houston Summit on December 29, 1982.
The Super Deluxe Edition set also features Prince’s previously unseen handwritten lyrics for several songs from the era, including the hit “Little Red Corvette,” plus images of the analog tape reels from the vault and rare photography from Prince’s early ‘80s photographer, Allen Beaulieu. The Super Deluxe Edition is completed with brand-new liner notes by longtime Rolling Stone critic David Fricke, revered Guns N’ Roses bassist and author Duff McKagan, Minneapolis historian and radio host Andrea Swensson, and Prince scholar Duane Tudahl.
Fricke notes, “A landmark collection of vision, craft, and urgency – an unprecedented immersion in the frenetic momentum and private working world of Prince in 1981 and 1982, en route to the profound breakthrough of his fifth studio album, 1999.”
The 1999 Super Deluxe Edition shines a forensic light on the creative output of this truly unique musician, songwriter, producer, and performer at a pivotal point in his career and demonstrates why his unsurpassed body of work continues to generate so much love and passion around the world.
On May 26, 2016 The Flaming Lips performed their classic album The Soft Bulletin in its entirety with the Colorado Symphony at Red Rocks Amphitheater in Colorado.
The Flaming Lips (Wayne Coyne, Steven Drozd, Michael Ivins, Derek Brown, Jake Ingalls, Matt Kirksey and Nicholas Ley) were accompanied by a 69-piece orchestra and 56-strong Chorus. The performance was conducted by the internationally celebrated conductor Andre de Ridder.
The Flaming Lips performed the 12-track album in its original sequence with new arrangements for each song that use the orchestra and chorus to great effect.
This entire concert was produced by The Flaming Lips, Scott Booker and their long-time collaborator Dave Fridmann. The resulting live album is being released to celebrate the 20th anniversary of The Soft Bulletin, originally released in 1999. The album was the band’s breakthrough moment and featured the hit singles “Race For The Prize” and “Waitin’ for a Superman”.
Starting with the following year’s Under Wires And Searchlights, they’ve created an explorative body of instrumental work that’s shifted between electronica, dub, minimalism, avant-jazz and ambient music. Along the way they’ve collaborated with the likes of Jah Wobble, remixed Max Richter and Vök and provided soundtracks for art installations and other visual media. They’ve also had their own music remixed by Biosphere and Japan’s Steve Jansen, among others.
The new album offers ample evidence of a band in its prime. Marconi Union still sound vital and original, enthused by the possibilities that music has to offer. “We’ve never wanted to repeat ourselves,” states Talbot. “We’ve made ten albums and have been going for 17 years, but it still feels fresh. That’s been so important for us all the way through. We’re looking to do new things all the time” co-founder Richard Talbot says.
Indeed, the exquisite Dead Air bears only a passing resemblance to its 2016 forerunner, Ghost Stations. The trio have dispensed with beats, brass and guest musicians this time around, opting instead for a more intimate and textural approach, a constantly evolving soundworld of tones and sensory impressions. Dead Air also bears little resemblance to the trio’s initial vision for it. “The album we set out to make had far more of a rhythmic element,” explains Talbot, “but fairly late in the process, we decided to completely change direction.” This is entirely in keeping with Marconi Union’s guiding methodology. Ideas remain fluid throughout the writing process, until Talbot and bandmates Jamie Crossley and Duncan Meadows ultimately settle on what feels right to them.
As such, Dead Air is a sublime testament to their collective instinct.
Marconi Union’s most successful album to date is Weightless (Ambient Trans- missions Vol. 2). ‘Weightless is widely considered to be ‘the most relaxing track in the world’
Sweden’s Opeth are preparing to release their most important record to date with “In Cauda Venenum”. Certainly, fans and critics will have their opinion, but few records in the Swedes’ oeuvre are as engaging, delicate, panoramic, intense, and musical as Opeth’s lucky thirteenth. Sporting a clever Travis Smith cover—replete with inside jokes and a nod to King Diamond—a masterful Park Studios (The Hellacopters, Graveyard) production, Opeth’s usual five-star musicianship, and lyrics entirely in Swedish, “In Cauda Venenum” raises the bar markedly. While a record in Swedish is a first—there’s also an English version—for frontman and founding member Mikael Åkerfeldt, the 10 songs on offer feel and sound completely natural. As if years of listening to and being a fan of Swedish rock and hard rock has paid off. In a way, Opeth have come home. But the Swedish lyrics of the primary edition of “In Cauda Venenum” shouldn’t distract from the quality presented in Opeth’s new songs, the lot of which sneak up and take control after repeated listens. “In Cauda Venenum” is like that, tricky in its complicated simplicity, resourceful in its ability to charm with delightful if wistful melodies. Really, it’s just Opeth being Opeth.
Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album's 11 tracks—including single “Uneventful Days” and “Saw Lightning” (as featured in the Beats by Dr. Dre Powerbeats Pro campaign and also included with pre-orders)—feature co-writing and co-production from Pharrell Williams. Elsewhere in Hyperspace, “See Through” is co-written/co-produced by frequent Beck collaborator Greg Kurstin, “Star” is co-written/co-produced by Paul Epworth, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines, and “Die Waiting” is co-written/co-produced by Cole M.G.N. with backing vocals from Sky Ferreira. Longtime Beck bandmates Jason Falkner, Smokey Hormel and Roger Manning Jr. feature on much of the album as well.
New Vinyl: $229.98 Add to Cart
Collectible Boxed Set presents 23 180-gram vinyl singles in faithfully reproduced international picture sleeves. Includes exclusive double A-Side single for “Free As A Bird” and “Real Love” plus a 39-page book.
uknowhatimsayin¿ marks a buoyant new chapter in Danny's career, a transitional and celebratory moment. His profile has grown since Atrocity and now armed with a cable TV show and a co-sign from one of rap's icons, we will look to solidify his positioning as a ubiquitous entertainer, independent rap hero, and one of the essential cultural voices of this era, while still retaining the edgy, maverick style that makes him a fan-favorite. The album is executive produced by Q-Tip, and features production by Q-Tip, JPEGMAFIA, Flying Lotus, Paul White, Standing on the Corner and more.
"In January 2019 I found myself stuck in a Chicago hotel room during the “Polar Vortex”. I was performing there with my duo Radnor & Lee over a few nights when temperatures dropped, leaving me unable to do much outside my hotel room for 4 days.
Chicago is a city that holds a special history for me, and I found myself spending a good chunk of time staring out my hotel window, reflecting on my first trip there in 1993 to record my debut solo album Grandpaw Would at Idful Studios with Brad Wood. But more than the details of that trip, I was struck by how vividly memories started flooding back tome of being a 15 year old mega fan of music, and in particular, indie rock. I LIVED for the records that I loved and the bands who made them. I’m not sure you are ever a fan of bands the way you can be as a teenager. It’s pretty sacred.
I started re-listening to some of my favorite songs from that period in that hotel room, by the Beat Happening, Pavement, Fugazi, The Breeders, Guided by Voices. It struck me as crazy that these songs and the feelings that accompanied them were now over 25 years old. It started seeming odd to me that for some reason, indie rock hasn’t been canonized the same way ‘60s and ‘70s rock has. After all, Dinosaur Jr were my Led Zeppelin, Sonic Youth were my Grateful Dead and Built to Spill were my Steve Miller Band. These were my classics!
I always travel with my portable studio gear, and I immediately sat down and started learning and recording a collection of my favorite songs. I spent my 4 days of the 2019 Polar Vortex creating the blueprint for what would becomeQuarter Century Classix. When I got home to LA, I invited my friends Julianna Barwick, William Tyler and Mary Lattimore to my home studio to add their magic to my recordings as I knew they grew up in reverence of the same records I did. These three genius musicians became the “band” who you can hear framing these covers and I am eternally grateful for their talent and generosity. Later, Maria Taylor, Mike Watt, Petra Haden and Joey Waronker all showed up to play too.
To some people these songs are just footnotes in pop culture history. But to me, they are the essence my own personal history. I wanted to make this record a tribute to these bands, to these songs, and to the irreversible way music can touch and transform the life of a young person. I hope you enjoy
Quarter Century Classix. - Ben Lee
Pluralone (pronounced "plural one") is the new project from multi-instrumentalist and songwriter Josh Klinghoffer. While Klinghoffer is best known for his current role as guitarist in the Red Hot Chili Peppers, he has played and recorded with a variety of acts, including PJ Harvey, Beck, and Gnarls Barkley, as well as fronting the group Dot Hacker. Pluralone's debut album, To Be One With You, is largely a solo effort on Klinghoffer's part, although it features performances by frequent collaborators such as Flea (RHCP), Jack Irons, Eric Avery (Jane's Addiction), and fellow Dot Hacker members, Eric Gardner and Clint Walsh. On the heels of a seven inch release with two foreign language covers, the new album showcases ten brand new, original tracks which will be available on LP, CD, and digital formats.
JD McPherson presents A Christmas Album, SOCKS. Featuring 11 original tracks written by JD McPherson and his friends. SOCKS is an album of Holidays songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , "All The Gifts I Need" and "Every Single Christmas." Or, burn the cookies to "SOCKS" and "Ugly Christmas Sweater." There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, "Bah Humbug".
Digital: $29.99 Add to Cart
Songs For Groovy Children assembles all four historic debut concerts by Jimi Hendrix’s newly assembled Band of Gypsys at New York’s Fillmore East on New Years Eve 1969 and New Years Day 1970. Presented in their original performance sequence and encompassing 43 tracks across 5 CDs or 8 LPs, the set boasts over two dozen tracks that have either never before been released commercially. Newly mixed and restored in sequence without edits, fans can finally hear Hendrix, Cox and Miles blast through their genre-defying sets that included freshly written songs like “Earth Blues” and “Stepping Stone,” as well as supercharged Experience favorites inclusive of “Foxey Lady,” “Voodoo Child (Slight Return),” “Wild Thing,” “Hey Joe” and “Purple Haze.” The lavish package is filled with unseen photos and remembrances from bassist Billy Cox and liner notes by author/journalist/filmmaker Nelson George. Songs For Groovy Children was produced by Janie Hendrix, Eddie Kramer and John McDermott and mastered by Grammy-winning engineer Bernie Grundman.
In honor of the 50th Anniversary of the Allman Brothers debut album, New West Records is proud to present, Big Band of Brothers: A Jazz Celebration of the Allman Brothers Band. This record is a true collection of big band jazz interpretations of Allman Brothers classics. The record features guest vocals by Marc Broussard and Ruthie Foster. Big Band of Brothers also features Jack Pearson on guitar, who has performed as a guest of the Allman Brothers Band on numerous occasions, and actually joined as a member of the band in 1997. Together with Dickey Betts, he completed the band’s archetypal guitar duo for nearly 3 years. Wycliffe Gordon (of Jazz at Lincoln Center fame) is also featured as a soloist. Gordon is consistently ranked among leading trombone players in the Downbeat critics poll.
William Hooker has been recognized as one of the most innovative musicians and drummers of his generation, leading a variety of ensembles within the worlds of free jazz, experimental, and new music. Hooker’s prior collaborators range from avant garde jazz musicians to indie rock legends like Thurston Moore and Lee Ranaldo of Sonic Youth. On his latest work, “Symphonie of Flowers”, Hooker weaves three sections into a whole, or a “symphonie” of sorts. As he says, “the piece begins and ends with the drum…my instrument. Its rhythm and variations of timbre are the stabilizing element.”
DJ Shadow returns with his new album Our Pathetic Age, releasing November 15th via Mass Appeal, kicking off the project with hit single, 'Rocket Fuel' featuring vocals from legendary rap trio De La Soul, which was also included in EA's Madden 20 Soundtrack. Set to release as a double album, part 1 of Our Pathetic Age includes 11 genrebending instrumental tracks. Part two is a 14track vocal suite with features from the likes of Nas, Dave East, Run The Jewels, and more.
Imagine the mind’s farthest wanderings made physical, formed into worlds that represent our internal and external expressions. Mythologically speaking, people have been naming this duality for ages: utopia and dystopia, heaven and earth, Olympus and the underworld. Now imagine this concept distilled in an eleven track, thirty-six minute album, and you arrive at Arcadia, the latest offering by songstress Lily Kershaw. Weaving warmer analog sounds like organ, harpsichord and guitar with cinematic force, Arcadia is Kershaw’s most intimate release to date. But the strongest tool Kershaw wields is her voice, both in the simmering ferocity it carries and the poetry it speaks. Though the concept behind the record is epic to say the least, Kershaw is ultimately telling a story of acceptance, both of herself and the great mystery that is the universe
The original release of the Jackson 5's Greatest Hits LP in 1971 was cause for celebration, as it encapsulated an extraordinary 18-month strings of back-to-back-to-back-back-etc. hits and was itself a hit souvenir of Jacksonmania. It featured eight smash records, led by the group s phenomenal Motown debut, 'I Want You Back,' plus two immensely popular B-sides 'I Found That Girl' and 'Who's Lovin' You' and something new: 'Sugar Daddy,' a just-dropped single which went top 10 pop and no. 3 R&B; it was then not available on any other J5 LP. This LP reissue is something new again: it features the rare quadrophonic mixes, originally released in Japan only in 1975. These mixes used alternate vocals and sometimes emphasized instrumentation not heard in the J5 singles or LP and as a result these versions are much sought-after. As within this edition these mixes are the stereo folds, consumers do *not need a special decoder or four speakers to enjoy the music.
This Super Deluxe limited edition package features a new stereo mix of the album by Bob Clearmountain from the original analog masters. The package also features the previously unreleased complete “Live At Woodstock” performance from 1969, the Classic Albums – The Band documentary, and thirteen bonus tracks. Bonus tracks include six previously unreleased outtakes and alternate versions. The exclusive book features a new essay by Anthony DeCurtis and classic photos by Elliott Landy.
Brand new mix of the Space Oddity (aka David Bowie) album by longtime Bowieproducer/collaborator Tony Visconti.
Of the 2019 Space Oddity album mix Visconti says “It was so much fun to find hidden gems of musicianship with more time to mix the second time around, a guitar twiddle here, a trombone blast there, Marc Bolan’s voice in a group choir and more detail in general that we overlooked all those years ago when the label gave us a weekat the most to mix this album. And in the details you will find 22 year old David Bowie, who would soon take the world by storm."
The Gathering Dawn is the debut solo album from Hollie Kenniff. The album, which is her first ambient proclamation, displays a sprawling looseness in sharp contrast to her works as one half of Mint Julep with husband Keith Kenniff (Helios, Goldmund). The Gathering Dawn wistfully utilizes glacial synths, blurred out guitars and Hollie's melancholic vocal plumes as a basis. The album finds Hollie effortlessly folding classic ambient motifs in with a minimal modernist brushstrokes.
Maryland-based singer/songwriter and multi-instrumentalist Michael Nau is back with a fourth “solo” album, on the heels of his 2018 release, Michael Nau & The Mighty Thread. Nau, who previously fronted projects like Page France and Cotton Jones, is known for his unique blend of psychedelic folk, R&B, and indie rock music. On his latest effort, Less Ready To Go, Nau enlisted Scott McMicken (Dr. Dog) as a producer, along with collaborators Whitney McGraw, Andrew Dost (fun.), Zach Miller (Dr. Dog), Benny Yurco, and Seth Kauffman.
FITTED is a new project from Wire members Graham Lewis and Matthew Simms, with Mike Watt (Minutemen, Stooges, fIREHOSE) and drummer Bob Lee (Fearless Leader, The Freeks). The group first convened after just one practice to perform at Wire’s DRILL festival in 2017 at The Echo in Los Angeles. On their debut album, First Fits, the freewheelin' pysch-pop powerhouse plows through six numbers over the course of 38 minutes, with Lewis and Watt trading lead vocal duties. The album will be available on LP, CD, and digital formats beginning November 8th.
The vinyl release features a deluxe package with a gatefold jacket and lyric insert.
The follow up to FKA twigs’ critically acclaimed Brit Award and Mercury Prize nominated debut LP1 (2014, Young Turks). Widely regarded as one of the best albums of 2014 and selling over 340,000 records globally. Top-40 rapper Future appears on the album’s second single “Holy Terrain”, continuing a run of rap collaborations including an appearance on A$AP Rocky’s ‘Testing’ LP. Twigs will tour the US in November with a theatrical performance that debuted in May to universal acclaim as well as several major festivals (Afropunk Brooklyn and Atlanta, Flog Gnaw) Press campaign includes September i-D cover, multi-page feature in Vogue October issue, television appearances and more. Twigs is a cultural figure outside of the music realm as well: appearing in the feature film “Honey Boy” out 11/8/19, being named a creative director for Nike, and starring in a viral Spike Jonze-directed Apple ad
Over their career, Cold War Kids have fielded music’s seismic shifts while simultaneously sticking to their own game plan. Over the course of a dozen releases – including seven studio albums, multiple EPs, and a live album on majors and indies alike, non-stop tours and the festival circuit’s biggest stages, massive radio, sales & streaming successes, the band have become a major part of the modern landscape. Their new album New Age Norms 1, with lead single “Complainer” is the next chapter with the approach of taking apart the idea of what the band is and just trying to take the doors off a bit to see where it can go.
- Featuring the hits: "What's the Frequency, Kenneth?," "Bang and Blame," "Crush With Eyeliner" and more
- 2019 Completely Remixed Album, by original producer, Scott Litt
- 15 Previously Unreleased Demos
- 2-disc Unreleased Live Set from the 1995 Monster Tour
- Remastered Album
- Concert Film Road Movie
- Hi-Res & 5.1 Surround Sound Audio
- Official Music Videos
- Plus extensive new liner notes, featuring interviews from members of the band
- Reimagined artwork by the original cover artist, Chris Bilheimer
Rock and Roll Hall of Fame inductee and multi GRAMMY Award-winning band R.E.M. is one of the most revered bands to emerge from the American underground. Singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and drummer Bill Berry helped originate college rock during the post-punk scene of the 80s. The Athens, GA-based group toured relentlessly for the first decade of their career, refining their idiosyncratic blend of brash tunefulness, poetic lyrics, chiming guitars and evocative vocals.
By the early 90s, R.E.M. had become one of the most popular and critically-acclaimed bands in the world. With an extraordinary three-decade-long run of creative vitality, R.E.M. have established a powerful legacy as one of the most enduring and essential rock bands in popular music history.
Nirvana's classic MTV Unplugged in New York album is getting a 25th anniversary vinyl reissue. Marking the iconic lives set's first pressing as a double LP, the new edition features five rehearsal performances that were previously available on only the DVD release.
Among the rehearsals – which were previously only available as bonus content on the MTV Unplugged in New York – is a different take on the David Bowie cover “The Man Who Sold the World,” a version that finds both Nirvana and the production team finding their footing ahead of the concert. Rehearsal versions of “Polly,” “Pennyroyal Tea,” “Come As You Are” and the Meat Puppets’ “Plateau” are also included on the vinyl’s Side D.
The Hollywood legend, coolest man on the planet and purveyor of fine jazz will release his second album in November on Decca Records. And this time he’s bringing his friends. Jeff has assembled an extraordinary gang of vocalists from all walks of musical life, some of whom are revealing their jazz voices for the very first time. The feel good jazz album of the year, featuring singers Sharon Van Etten, Fiona Apple, Inara George, Jeff Goldblum & Anna Calvi.
This title was recorded live at the historic Village Vanguard in NYC in the Fall of 2018 during Jon Batiste’s residency at the legendary space. It is the follow up to “Anatomy of Angels’, which is part 1 of this 2 part series. The music on this release is original, instrumental music (other than “Soulful” which is a tribute cover to Ray Hargrove) showcasing Batiste’s virtuosic and uplifting talent he uses to command a room, and an iconic one at that.
Japanese Wallpaper is Gab Strum, Melbourne-based dream pop producer, songwriter and artist. Gab blends shimmery synths, downtempo beats, and electronic influences with introspective, coming of age song themes to craft his brand of indie pop. Glow is the debut album from Japanese Wallpaper about navigating the simultaneously beautiful and incredibly awkward phase that is one's late teens, growing up and trying to figure out your place in the world. Produced by Grammy-winning producer Ben H. Allen (Walk the Moon, Animal Collective, Gnarls Barkley, Kaiser Chiefs, Cut Copy, Washed Out, Neon Indian),
The Appetite For Destruction: Locked N’ Loaded box is the one true GN’R Holy Grail. The box includes the Super Deluxe Edition with 4CDs featuring the album newly remastered for the first time ever; B-sides N’ EPs newly remastered; the previously unreleased 1986 Sound City Session N’ More recordings; a Blu-ray Audio disc with the album, bonus tracks and music videos in brand new 5.1 surround sound along with the unearthed music video for “It’s So Easy” originally shot in 1989 but never finished; and a 96-page hardcover book showcasing unseen photos from Axl Rose’s personal archive and a wealth of memorabilia. In addition, the Locked N’ Loaded box contains high quality collectables including seven 12-inch 180g audiophile vinyl discs, seven 7-inch singles on yellow vinyl, a dozen lithos newly visualizing each song on Appetite, 5 custom hand-made metal-cast band skull face rings, 5 hand-made metal-cast band skull face lapel pins, buttons, patches, replica concert tickets and gig flyers, 5 metal skull face and signature-stamped guitar picks, a turntable mat, wall posters, replica ‘85/’86 club days banner, a Robert Williams painting litho, never-before-seen band lithos, a numbered certificate of authenticity and more.
Appetite For Destruction is also available as Remastered CD / Deluxe 2CD / Super Deluxe / 2LP
Tony Award–winner Idina Menzel has a career that traverses stage, film, television, and music and in time for the holidays she releases an album of traditional and brand-new songs featuring Ariana Grande, Billy Porter, Josh Gad and her husband, Aaron Lohr. Timed to coincide with the release of Disney’s Frozen 2, which includes Idina’s unforgettable voice in the title role of Elsa, this new album is sure to bring friends and family together throughout the holiday season.
In 1997, Josh Homme (Queens of the Stone Age) and a handful of friends retreated to the desert of Joshua Tree, CA in order to isolate themselves from the distractions and comforts of their everyday lives. What began as a casual writing and recording session amongst friends has since become a project of legend. Spanning twelve volumes over the course of two decades, Desert Sessions has featured some of music’s most cherished icons stepping out of their comfort zones and collaborating with one another to create some of the most exciting music of their careers.
After nearly sixteen years since its last entry, the longest-running mix tape in existence, Desert Sessions will return this October with two stunning new volumes in its already storied catalog, Vols. 11 & 12, featuring collaborations from Billy Gibbons (ZZ Top), Les Claypool (Primus), Stella Mozgawa (Warpaint), Jake Shears (Scissor Sisters), Mike Kerr (Royal Blood), Carla Azar (Autolux, Jack White), Matt Sweeney (Chavez), David Catching (Co-founder of Rancho De La Luna studio), comedian Matt Berry (What We Do in the Shadows), Töôrnst Hülpft and new comer Libby Grace.
Limited Edition Vinyl packaging includes a one of a kind custom mix & match, body swap booklet!
After 30 million albums sold, 13 No. 1 jazz albums in the United States, and a film, television and music career spanning three decades, Harry Connick, Jr. returns with a new sound, new label home and new record, True Love: A Celebration of Cole Porter.
Focused exclusively on the songs of Cole Porter and his Great American Songbook, the sensational recording demonstrates Connick’s multitude of talents as pianist, singer, arranger, orchestrator and conductor, breathing new life into popular tunes including “Just One of Those Things,” “Anything Goes” and “You Do Something To Me.”
Written and produced by Michael Gira, Leaving Meaning is Swans fifteenth studio album and features contributions from recent and former Swans, members of Angels of Light as well as guest artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw.Michael Gira explains, "Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 - 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I'd like to see the songs I've written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They're all people whose work I admire and whose company I personally enjoy.
'Tombstone Every Mile' was Bill Kirchen's first solo album, but it has been unavailable for many years. Originally released in 1993 it featured him in his Washington DC based trio. Fellow DC area guitar man Danny Gatton was to produce the disc, but by the third day of recording he still hadn't shown up, so Bill ended up self-producing with engineer Ed Eastridge. Bass man Jeff Sarli had already played with artists on the Black Top label out of New Orleans, Robert Ward for one, so Bill pitched it there and they agreed to release it in USA. Kirchen then approached Jake Riviera at Demon, who he knew from making the Moonlighters disc with Nick Lowe, and they released it in Europe. The album reflects what they were doing working the Honky-Tonks in DC and points beyond. Kirchen hadn't been writing much material post-Commander Cody, and was perfectly happy singing Dick Curless, Bob Wills and Buck Owens etc all night. So, he called on song writing friends like Blackie Farrell, Nick Lowe and Austin de Lone, who came through with some ideal material for the album, inspiring Bill to manage a couple of serviceable originals which remain in the repertoire to this day. The 2019 edition is available on CD 12"" vinyl LP and digital formats.
The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.
‘What’s Going On Live’ features Marvin Gaye’s legendary concert – the only live performance of his iconic 1971 What’s Going On album in full – recorded in February of 1972 at the Kennedy Center in his Washington, D.C. hometown, & notable as Marvin’s first concert after a 4 year hiatus. After being shelved for decades, the recording was eventually released on CD in 2001 within Motown/UMe’s expanded deluxe edition for the What’s Going On album. Never before issued on vinyl or as a standalone CD, What’s Going On Live is newly mixed for its 2019 release by John Morales at M+M Mix Studios and mastered by Alex Abrash at AA Mastering. Packaging includes rare photos from Gaye’s performance and a new liner notes essay by Marvin Gaye biographer David Ritz.
THE ORDER OF NATURE presents a hypnotic meeting of the classical and folk-rock worlds with both classic and brand-new material by Jim James (lead singer of critically/commercially successful My Morning Jacket) and fused with Teddy Abrams’ inspired orchestrations with the Louisville Orchestra.
Fastball's new album, The Help Machine, follows on the heels of the bands acclaimed 2017 release Step Into Light. The new set, on the Austin's TX trio's own 33 1/3 label, once again demonstrates the distinctive songwriting, expressive vocals and inventive melodic sensibilities of Miles Zuniga and his bandmate Tony Scalzo. With drummer, Joey Shuffield completing the longstanding lineup, the trio's time tested creative rapport is a potent as ever on such compelling tunes as Scalzo's White Collar,All Gone Fuzzy and The Girl You Pretend to Be and the Zunga compositions Friend or Foe, Holding The Devil's Hand, and the album's enigmatic title track .
Fieh (pronounced “fee-ah”) is a band created by Sofie Tollefsbøl, a singer from Eina in Norway, a small village with under a 1000 inhabitants located deep in the Norwegian forest. Sofie draws inspiration from different hip hop and soul artists such as Outkast, D’Angelo and Erykah Badu. The band’s music has evolved a lot since Sofie started releasing her Garageband-produced demos from 3 years ago, and since she attended the Norwegian Academy of Music her solo project has grown into a large band, with elements such as multiple backup singers, a drummer, a bass- and guitarist, a trumpeter and a keyboardist, all of them fellow students at the jazz course at the same school.
Lead singer and lyricist Guy Garvey describes the album as “an angry, old blue lament which finds its salvation in family, friends, the band and new life.” It is a record that lyrically takes in moments of deep personal loss whilst reflecting its times by confronting head-on the spectres of injustice and division not just in the UK but across the world. It is a record that could only have been made in the 21st Century.
Selections From The Vault features tracks taken from Steve Miller’s career spanning deluxe 3 CD + DVD box set, Welcome To The Vault. The clear vinyl 1LP edition features 8 tracks, all of which are previously unreleased. Highlights include Rock’n MeAlternate Version 1, Crossroads Live and Fly Like An EagleAlternate Version, plus Steve Miller’s version of Love Is Strange, which has never appeared on a release until now.
This Limited Edition Freddie Mercury solo career hard slipcase box set includes 3CDs, DVD/Blu-ray, 120-page hardback book featuring rare photos of Freddie + quotes, Poster + Postcard.
Iconic. Incomparable. Irreplaceable. But never, ever boring. Freddie Mercury's spirit is every bit as central to the fabric of popular music today as it was during his unforgettable lifetime. Now comes a unique release to showcase the full range of his musical talents and passions, and their indelible imprint on the worlds of pop, opera and far beyond.
Down ‘n’ Outz Joe Elliott’s side project away from Def Leppard release their brand new Studio album This Is How We Roll. The band is founded and fronted by Def Leppard’s Joe Elliott and backed by members of The Quireboys, Wayward Sons and Vixen. This album made up of original songs all written by Joe Elliott (bar a cover of the Tubes White Punks on Dope is the band’s first album since the Further adventures of was released in 2014. The album produced by Joe and long time Def Leppard engineer Ronan McHugh is the first to contain new songs (the previous albums were as mentioned cover versions) and sees the band channeling a very 70’s feels over 11 new songs and one cover version.
“It's like a coming-of-age crisis,” says Daniel Shultz about Out of the Blue, the messy and melodic debut album from his band, Dan Luke and The Raid. “It’s about being in that space in your 20s where you’re trying to get your shit together and figure things out in life. You’re dealing with your problems”—the singer, songwriter and guitarist pauses—“even as you’re going out and partying and getting into trouble all the time.”
Shultz and his Dan Luke & The Raid band mates know a thing or two about the last part of that equation, as evidenced by the songs and subject matter on Out of the Blue. Throughout the album’s 10 tracks, people are passed out on curbs under neon signs (“Black Cat Heavy Metal”), breaking hearts over rolled-up dollar bills (“Exoskeleton”), leaving baggies lying in passenger seats (“Money Mouth”) and faking smiles and feeling ashamed (“Golden Age”). Legs are bleeding, faces are numb and Shultz declares his band to be the “diamond kings of smut.” All the while, the music throbs and pulses and twitches and buzzes with the energy and enthusiasm and inexperience of youth, bursting with harsh, distorted guitar chords, blown-out synths squiggles and hopped-up rhythms—as well as, on occasion, moments of stunning and sincere melodic beauty.
With the weight and experience of events that have been at times joyful and sad, poignant and puerile, triumphant and tragic, Dan Luke and The Raid continue to carve out their future, one musical moment at a time. “What we want to do is create music, and create music in a way where people feel something,” Shultz says. “And when we see that happening it’s an amazing thing.”
PETRA was written, produced, and performed by acclaimed multi-instrumentalist/ songwriter Anthony LaMarca, also known for his role as guitarist in The War On Drugs. Like so many Midwestern musicians before him, LaMarca left his beloved hometown of Youngstown, OH for Brooklyn but returned in 2014 and began work as The Building, often joined by his brother Angelo (guitar) and wife Megan (cello) on a series of EPs and albums – including 2017’s acclaimed RECONCILIATION – released via Peppermint Records.
PETRA – which shares its name with the LaMarcas’ beloved German Shepherd – is a bare-boned, often brutally blunt, new work from a gifted musician-songwriter forced by fate to confront life’s hardest truths and consequences. LaMarca had just begun recording at Youngstown’s Peppermint Productions – a vintage studio facility best known for producing everything from polka superstar Frank Yankovic to the Judge Judy theme song – when a spell of intense back pain led to his being diagnosed with Multiple Myeloma. Originally, LaMarca was diagnosed in the middle of making Reconciliation. He immediately started treatment, which brought the disease into complete remission. His disease relapsed last year while in the middle of making PETRA." The experience inspired a second meaning to the album’s title, the acronym P-E-T-R-A, or “Peace’s Eternal Truth Renews All.” Moreover, LaMarca’s physical struggle has resulted in the most powerful work of The Building’s still-growing canon, a vivid series of deeply personal songs such as “Purifer” and the LP-opening “Transformed,” made even more impactful through strikingly simple arrangements and raw, heartfelt performance.