“Alpha Games was conceived on the road, playing in front of amazing crowds on our last tour and then brought to life with the fire and the frustrations of 2020,” says Kele Okereke onBlocParty’s first new album in seven years.
The firstBlocPartyalbum written and recorded as this four piece; adding the musicality of Justin Harris (bass) and the unbridled energy and power of Louise Bartle on the drums to capture the spark of their live shows and to deliver the most excitingBlocPartyalbum yet.
“We wanted to can what was happening at those massive gigs in 2019, to showcase what Louise can do, what Russell is capable of and most importantly the electricity coming off the audience. We knew that Nick & Adam were the right choice of producers to do that and the result feels like fire in a bottle.”
Produced by Nick Launay & Adam Greenspan (Nick Cave, Yeah Yeah Yeahs, IDLES), the 12 tracks of Alpha Games veer from the intense & confrontational (Traps, Day Drinker) to melodic and introspective (If We Get Caught, By Any Means Necessary) and marks a new and important chapter in one of music’s most important voices in Kele Okereke and important bands inBlocParty.
"On Silver color vinyl. Toro y Moi’s seventh studio album, Mahal, is the boldest and most fascinating journey yet from musical mastermind Chaz Bear. The record spans genre and sound—encompassing the shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock—taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino jeepney that adorns the album’s cover. But Mahal is also an unmistakably Toro y Moi experience, calling back to previous works while charting a new path forward in a way that only Bear can do.
Mahal is the latest in an accomplished career for Bear, who’s undoubtedly one of the decade’s most influential musicians. Since the release of the electronic pop landmark Causers of This in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his sound can be. But there’s little in Bear’s catalog that will prepare you for the deep-groove excursions on Mahal, his most eclectic record to date. The second the album begins we’re immediately transported into the passenger seat, jeep sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of Mahal’s 13 songs date back to the more explicitly rock-oriented What For? from 2015. Mahal was mostly completed last year in Bear’s Oakland studio with the involvement of a host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon Indian’s Alan Palomo and the Mattson 2.
“I wanted to make a record that featured more musicians on it than any other record of mine,” he explains. “To have them live on that record feels grounded, bringing a communal perspective to the table.” As a result, Mahal is lush and surprising at every turn, from the cool-handed “The Loop,” which recalls Sly and the Family Stones, to the elastic psych rock of “Foreplay” and the dizzying Mulatu Astatke- recalling of “Last Year.” Lyrically, the album zooms in on generational concerns, picking up where the Outer Peace standout “Freelance” effectively left off. Bear seems to be surveying the ways in which we connect with technology, media, each other, and what disappears as a result. Cuts like the squishy “Postman” and the “Magazine” take a deep dive into our relationship with media in a changing digital world. “It’s interesting to see how we adapt to this new age. We’re so connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s themes.
It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-featuring “Millennium,” a laid-back jam with tricky guitar licks about ringing in new times even when everything else seems upside down. “It’s about enjoying the new year, even when it’s been shitty,” Bear explains. “There’s nothing else to do.” Finding a sense of joy in the face of adversity is embedded in Mahal’s DNA, right down to the jeepney that literally and figuratively brings the music out into the community. “We know that touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the notion of us going out to the people and bringing the record to them.” And with the wide-open atmosphere of Mahal, Toro y Moi stands to connect with more listeners than ever before."
Love & Algorhythms is an interstellar synthesis of astral Soul, R&B, and sci-fi Funk. Working with producer Paul Butler (The Bees, Micheal Kiwanuka, Caroline Rose, Hurray for the Riff Raff), Seratones have taken the invitation to knock at the door of the cosmos. A.J. Haynes’s voice dances with soul-stirring devotion at the altar of Black Feminisms: weaving the words Toni Cade Bambara, Octavia Butler’s Xenogenesis multiverse, echoes of bell hooks, and Audre Lorde’s Power of the Erotic. With drummer Jesse Gabriel’s machine-like precision and the transcendental touches from guitarist Travis Stewart, the album oscillates between Alice Coltrane-inspired bliss & Giorgio Moroder’s ecstatic release. Each song hovers and pulsates in the wide, dark matter—constellations guiding a journey through the subtle body, the vast fullness of the human experience and the irresistible potential of liberation.
Grammy Award-winning duo Bob Moses release their highly anticipated third album, The Silence in Between. The Silence in Between marks the Los Angeles-based band’s first release since signing to Astralwerks in a unique global partnership with Domino Recording Co. Love Brand New is one of the most anthemic moments on The Silence in Between, “Love Brand New” finds Vancouver-bred musicians / producers Tom Howie and Jimmy Vallance tapping into their deep-rooted love for ’90s alt-rock and left-of-center dance music. Written with Michel Zitron and John Martin (a Swedish production duo known for their work with the likes of Avicii and Swedish House Mafia), the track encompasses a glorious collision of moody guitar tones, mercurial textures, and wildly propulsive beats as Bob Moses channel the dizzying euphoria of new romance.
As their boldest and most viscerally charged output to date, The Silence in Betweenamplifies the unbridled energy that’s made Bob Moses a repeat winner of Resident Advisor’s Best Live Act prize.
Willie is back with his 72ND solo studio album. A full-fledged album of new studio material produced with long-time collaborator Buddy Cannon, it will come on Willie’s 89th birthday and shows off just how prolific he continues to be as the album includes some of his finest songwriting and performances in years! The 14 tracks include 5 amazing new Willie Nelson/Buddy Cannon compositions, new songs from Chris Stapleton & Rodney Crowell (the first single “I’ll Love You Till The End Of Time”) and a cadre of top Nashville songwriters, plus a couple of plum covers by Leonard Cohen (“Tower Of Song”) and The Beatles (“With A Little Help From My Friends”) given expert interpretation by Willie.
Scheduled for release in April 2022, the 10-song sophomore full-length album showcases Kirke’s unselfconscious, country-twinged vocals alongside a brightly colored candy shop of glam-twang guitar riffs, department store tv commercial synth stylings, and swooping, lilting, unabashedly feminine background vocals. Lady For Sale channels a high-spirited insouciance that feels invigorating and familiar, decidedly more easy-going and fun-loving than what we’ve come to expect from its genre (and the world in general) in recent years. This is a party you’ll want to attend.
Norah Jones’ seminal debut album, Come Away With Me, became a global phenomenon reaching #1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 GRAMMY Awards with 8 wins including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. The remastered 20th Anniversary Edition captures the emergence of a singular talent on this now-classic album.
Trombone Shorty returns with Lifted, his first album in 5 years and the follow-up to his Blue Note debut Parking Lot Symphony, featuring special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr. An album that captures the energy of his legendary live shows, Lifted combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants & second lines) with modern lyrics, melody & beats to create something fresh & unique. Part Jimi Hendrix, part James Brown and all New Orleans, Troy “Trombone Shorty” Andrews is the bandleader and frontman of Trombone Shorty & Orleans Avenue, a hard-edged funk band that employs brass-band beats, rock dynamics & improvisation in a jazz tradition.
Weezer are proud to present one of their most exciting projects to date: SZNZ, a four EP song cycle of sorts. Already mythical across the internet, SZNZ will, fittingly, be released at the start of every season via Crush Music/Atlantic Records. Each EP will offer it's own palette of colors, creatures, and emotions to explore. They're also being created in real time, made in tandem with the season themselves; the band only just finished SZNZ: Spring, and have yet to begin work on SZNZ: Summer, SZNZ: Autumn, and SZNZ: Winter. Once they've all been released, however, the EPs will create an incredible collection of some of Weezer's best songs yet, which is no small feat for a band that never leaves the Zeitgeist.
2022 release. Dawn FM is the fifth studio album by Canadian singer-songwriter The Weeknd. The album is narrated by Jim Carrey, and features guest appearances from Tyler, the Creator and Lil Wayne. The production was handled by The Weeknd himself alongside Oneohtrix Point Never-who produced the majority of the tracks-as well as Max Martin, Oscar Holter, Calvin Harris, and Swedish House Mafia, among others. The album serves as a follow-up to The Weeknd's fourth studio album, After Hours (2020).
Having relocated to his native home of Norway in 2020, indie-pop auteur Sondre Lerche returns with his boldest, most expansive work yet: Avatars of Love. Written and recorded within the span of a year, the album, as Lerche tells it, "burst into being during a very intense and hyperactive year of my life." Produced by Lerche and his team of longtime collaborators Matias Tellez (girlinred) and Kato Adland, it features guests AURORA, CHAI, Mary Lattimore, and Felicia Douglass of Dirty Projectors.
EPIC RECORDS FUTURE - I NEVER LIKED YOU - Future released his ninth studio album with features from Drake ("Wait for It" and "I'm On One"), Kanye West ("Keep It Burnin"), Kodak Black ("Voodoo") and more. With production from TM88, ATL Jacob, Southside and others, the album comes just two years after Future's platinum-selling album High Off Life and his Pluto x Baby Pluto collaborative album with Lil Uzi Vert.
Following 2019’s critically-acclaimed sophomore album, I Spent the Winter Writing Songs About Getting Better, Proper. is making their return with The Great American Novel.
“The Great American Novel is a concept album about how Black genius, specifically my own, goes ignored, is relentlessly contested, or just gets completely snuffed out before it can flourish,” says vocalist Erik Garlington (he/him). “This record is a concept album that’s meant to read like a book; every song is a chapter following the protagonist through their 20s. Imagine a queer, Black Holden Caufield-type coming up in the 2010s.”
The result is an album that is both lyrically and musically heavy, the former something fans have come to expect from Garlington’s unflinchingly honest lyrical content, but the latter something that’s refreshingly new. Channeling the heavier music he listened to during his adolescence—from post-hardcore outfit At the Drive-In to progressive metal band System of a Down—Garlington and the rest of Proper.—bassist Natasha Johnson (she/her) and drummer Elijah Watson (he/they)—push themselves in ways they haven’t before, culminating in an ambitious project that showcases the new sonic territory the band is heading in.
Produced and recorded by Bartees Strange and mixed and mastered by Brian DiMeglio, The Great American Novel clocks in at fifteen tracks including “Huerta,” which explores Garlington’s Mexican heritage, and “Red, White and Blue,” a commentary on the imbalance between the United States’ everyday citizens and elite class. The songs reflect the overall tone of The Great American Novel:abrasive, powerful, and beautifully poignant.
“At the end of the day, what I wanted to do with this record is take Proper. in a direction that would surprise people on first listen, but end up making complete sense on the second or third listen. I think a lot of bands tend to go more pop but I wanted to make something both challenging and undeniably catchy,” Garlington said. “It all goes back to Black genius and how it’s ingested by the predominantly cishet, white male crowd. If they’re going to be a voyeur to the Black experience, I wanted to strip away all the cheeky song titles, lyrical inside jokes, and optimistic singalongs. I want them to hear this record and learn about our identity crises, our aimlessness, how many friends and family we know that are dead or in jail by 25. How, at eight we were told we were gifted but by 11 we were told we’re dangerous.”
13x Platinum, 2x GRAMMY Award-nominated, singer & songwriter Kehlani has announced her highly anticipated third album blue water road. "blue water road is a destination in my mind," Kehlani explains. "I'm giving everyone access. It's an emotional journey, a sexual journey, and a spiritual journey. To me, the album is like a glass house. It's light, transparent, and the sun is shining right through it."
Originally released in 1988, Suicidal Tendencies' third LP, How Will I Laugh Tomorrow When I Can't Even Smile Today, was a major turning point for Mike Muir and his Venice, CA crew. Led by Muir's sardonic sneer, How Will I Laugh.... grinds with beyond-punk prowess and biting social commentary that pushed Suicidal from Pendelton n' bandana'd clad, Pepsi-chuggin' hardcore heroes to flexible.skateboard-obsessed thrashers who would give legends like Anthrax, Slayer and Metallica a run for their monies. "Trip At The Brain'' kicks things open with the firepower ST was already known for with the likes of "Pledge Your Allegiance '' and the title track proving that Muir and crew were a force unto themselves - which continues to this day. Long out of print on vinyl in the US, HWILTWICEST is back with the unforgettable anthems, speed and street-smarts that have made Suicidal Tendencies a competition-crushing force in their own right.
Hot on the heels of her recent 2022 Academy of Country Music Awards win for Entertainer of the Year, Miranda Lambert is set to release "Palomino," her ninth solo album, on April 29, 2022.
During a recent interview with Billboard, Lambert gave an update on the progress of her much-anticipated upcoming album, which was mostly penned at her Tennessee farm.
Lambert -- who is now the most-awarded artist in ACM history -- has already released the Jesse Frasure co-written single "If I Was A Cowboy" and the just-premiered, low-key, 70s rock-tinged "Strange" (featuring Dick and Hemby as writers) from the new project. "Palomino"'s other reported influences include acts like Little Feat, Bruce Hornsby, the Range and Emmylou Harris.
The album includes a cover of Mick Jagger's 1993 solo album title single "Wandering Spirit," plus an album track entitled "Music City Queen," which features backing vocals from pop icons the B-52s.
Her first single off the project, "If I Was A Cowboy," is just a "sneak peek" for what's on the horizon for Lambert. "I've got some stuff coming out that is from a really creative time," she said.
Area 52 was produced by the legendary Peter Asher and contains nine of Rod and Gab's favorite songs from their own catalogue re-arranged and re-configured for a 13-piece Cuban orchestra comprised of some of Havana's finest young players, collectively known as C.U.B.A. On vinyl for the first time in the US and pressed on red & blue splatter vinyl.
After releasing Mazes, one of Sacred Bones’ best selling albums of 2011, and the accompanying limited edition LP of remixes, Mazes Remixed, Moon Duo are set to release Circles with Sacred Bones this fall. The band will also set off on a worldwide tour in support of the album, after living and playing in Europe for most of this year.
Moon Duo’s new material was birthed from a long period of winter isolation in the Rocky Mountains. The album was primarily recorded at home in Blue River, Colorado in February 2012, with additional recording taking place at Lucky Cat Recordings in San Francisco in April. Like it’s predecessor, the album was mixed at Kaiku Studios in Berlin. Inspiration for many of the songs’ themes, as well as the album title, came from Ralph Waldo Emerson’s 1841 essay “Circles” on the symbol and nature of “the flying Perfect.” From the opening lines: “The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary figure is repeated without end.” And so it goes. Rust never sleeps.
Vinyl LP pressing. 2022 release. Eli 'Paperboy' Reed pays homage to country legend Merle Haggard by putting a soulful spin on some classic tunes. Recorded in Brooklyn with longtime collaborator Vince Chiarito (Black Pumas, Charles Bradley), Reed taps into all the heartache of Haggard's iconic catalog and channels it into explosive, high-octane performances that blur the lines of genre, geography, and race to reveal the common, distinctly American threads tying them all together.
On their debut for Western Vinyl, recording engineer and multi-instrumentalist Nate Mendelsohn and his band use lyrical maximalism for the powers of good. Where Market’s previous home recorded releases shifted genre restlessly, on The Consistent Brutal Bullshit Gong Mendelsohn took a core band of longtime collaborators to a house in rural Massachusetts where they carved out space for his words to speak through with humor and intensity.
Though he comes from a background in experimental music, Mendelsohn’s ear for pop has prevailed. Certain moments on Bullshit Gong reveal his stranger side, as on the thundering bridge of “Scar,” which sounds like a more unhinged Parquet Courts, or the angular “I Would Do That,” which takes cues from Cate Le Bon. On the whole, though, this band of close friends insists on directness, their arrangements clear despite the intricacies. Guitars and synthesizers tangle fluidly atop the rhythm section’s tight bedrock, evoking the tenderness and backbeat-centric qualities of Elliott Smith or Big Thief.
After college, where he met most of the members of Market, Mendelsohn became an engineer and producer at the Brooklyn studio Figure 8 Recording. Through that community he’s recorded artists like Frankie Cosmos and Wendy Eisenberg, and played with Yaeji, Vagabon, Katie Von Schleicher (who co-produced Bullshit Gong with him), and Sam Evian, who mixed the album.
Creating intimacy out of manic self-reflection requires a delicate balancing act, one Mendelsohn tackles with abandon. His words never skew too poetic or grandiose, and when he invokes the ugly it’s met with a sonic tonality that sets him right again. In tender moments, his voice is often flanked by bandmates Natasha Thweatt or Von Schleicher, who help skew his words toward the universal. Still, Bullshit Gong is an obsessive look inward, one in which Mendelsohn simply asks himself if he is good to those he loves. It’s an act of trust between the artist and the imagined listener he takes with him.
Presented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles.
Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.
Multi-instrumentalist, songwriter, and producer Mitch Davis steps out on his own with debut LP The Haunt, a singer-songwriter tour de force for which he wrote all the songs and played all the instruments, made in his home studio during the 2020 lockdown, with much of it recorded on equipment that he also built himself.
Davis is a mainstay of the vibrant Montréal music scene, with a musical background encompassing everything from rock bands (Faith Healer) to avant-garde (Elle Barbara's Black Space) to jazz and hip-hop (Cadence Weapon). The Haunt is a synthesis of his many musical interests, stretching back to his childhood when he played drums in the church band and saxophone in his school band (he plays both on The Haunt.) Though he’s never had any formal musical training, Davis can’t remember a time in which music wasn’t a part of his life. When it came time to make his own record, Davis says: “I was always hoping I could find a way to blend everything together and get away with doing a bunch of different genres all at once, because I don’t like dwelling on a certain sound.”
Despite so much going on behind the scenes, nothing about The Haunt sounds overworked. A breezy, upbeat listen, it’s very much in tune with the spirit of 70s pop that Davis loves for the way it strikes a balance between musicality and catchiness, complexity and brevity. These are composed, layered songs made with care, but also made to make you smile. The result is a uniquely personal statement brimming with color and optimism even as it ponders universal themes of introspection and loneliness—a record that could only have been made by Mitch Davis.
The Gods We Can Touch is an elegant and celestial but provocative album about shame, desire and morality, all seen through the narrative prism of Greek mythology. In each of the album's fifteen songs we meet a different god. Featuring lead single "Cure For Me," the album is ultimately "a celebration of being human, and what makes us human."
The multi-instrumentalist duo that comprises Hermitude - Luke Dubber (aka Luke Dubs) and Angus Stuart (aka El Gusto) holed up together in Angus' home with a pared-back music setup, they began a process that was all about taking back control over how and why they make music as Hermitude. The duo recorded vocal sessions in-person to create a more intimate experience. You can hear it in the way the drums coil themselves around the closely recorded vocals of "When U Feel Like This (feat. The Jungle Giants)," or the confidence in "Promises (feat. Andie)" that allows her voice to soar into the upper octaves easily. This control over their process led to a loosening of their creative inhibitions. A year and a half later, Mirror Mountain was finished. The album acts as a reawakening, a place to draw strength as time goes by. "The production quality & mixing all around is super clean and polished, it's delectable to the ears." - Banger Sound
From the anthemic “Virginia (Wind In The Night),” an ode to Russell’s native state to which he’s recently relocated (“If it was solely up to me, I’d live her for the rest of my life,” he says), to the minimal but momentous “Tiebreaker,” Every Shade of Blue showcases The Head and the Heart’s unique ability to dip its toes into a variety of musical genres. It’s the band’s knack for supreme melody, however, that remains a constant. And it’s why many of the songs on Every Shade of Blue, including the slow-rolling title track, “Every Shade of Blue,” which Russell says has “a Sinatra vibe,” are undeniable pop-radio missiles. The band’s ability to create music that appeals to listeners’ common denominator, Russell says, is something he not only won’t shy away from but is immensely proud of.
Ukulele Songs comprises a fine mixture of original material penned by Vedder that he initially performed live, alongside vintage classics and standards. A recast, uke-driven version of "Can't Keep," which originally appeared as the opening track on Pearl Jam's hard-charging November 2002 album Riot Act, opens the proceedings, while newer-bred original songs like the resigned lament of "Sleeping By Myself," the charming love orbit of "Satellite," the hopeful brightness of "Light Today," and the instrumental interlude "Waving Palms" all set the table for the 35-minute album.
Guest vocalists appear on a pair of key Ukulele tracks, both of them fine covers of notable standards. First, Glen Hansard (The Frames, Once) adds his Irish folk DNA to "Sleepless Nights," which was written by Felice and Boudreaux Bryant and remade by The Everly Brothers in 1960, in addition to later being covered by the likes of Emmylou Harris, Patty Loveless, and Elvis Costello.
Second, Cat Power lends her passionate tone to "Tonight You Belong To Me," a jazz standard written in 1926 by lyricist Billy Rose and composer Lee David. This track has also been subsequently covered by the likes of Frankie Laine, Patience and Prudence, and Dottie West. Versions of "You Belong To Me" were also recently featured in the acclaimed 2019 film drama Blackbird and in an episode of the 2020 HBO horror-drama series Lovecraft Country.
The LP's other noteworthy covers include stirring takes on Billy Rose and Edward Eliscu's "More Than You Know," Michael Edwards and Bud Green's "Once In A While," and the album-closing reading of Fabian Andre, Wilbur Schwandt, and Gus Kahn's "Dream A Little Dream."
Produced by Eddie Vedder and Adam Kasper (Foo Fighters, Soundgarden), Ukulele Songs peaked at No. 4 on the U.S. Billboard 200, hit No. 2 on the U.S. Top Rock Albums on Billboard, and achieved Gold status in Canada.
The 2 CD companion piece to Sheryl Crow's forthcoming feature documentary, Sheryl, featuring 35 songs spanning 3 decades of music from the 9-time GRAMMY Award winner. 3 new songs are included with her hits "If It Makes You Happy," "Soak Up the Sun," "All I Wanna Do," "My Favorite Mistake," "Redemption Day," and many more! Sheryl Crow has sold more than 35 million albums worldwide.
SUNFLOWER BEAN / HEADFUL OF SUGAR - Marked by two vocalists who often take turns within a song, Sunflower Bean is an indie rock trio out of NYC. Twentytwo in Blue, the band's sophomore album (co-produced by Unknown Mortal Orchestra's Jacob Portrait and Matt Molnar, formerly of Friends) debuted on the UK's TOP 40 Album Charts and on Billboard's Independent Album Charts. In early 2019, the band released a new EP, 'King Of The Dudes' which featured BBC Radio 1"s Hottest Record In The World, 'Come For Me'. They recorded the EP in LA during the summer of 2018 with producer Justin Raisen (Charli XCX, Angel Olsen, Sky Ferreira). 'Come For Me' was the band's first single to chart in the US on Billboard's Triple A Rock Chart. Since then the band has performed at Bernie Sanders' 2020 rally, alongside the Strokes and their 2 subsequent singles 'Moment in the Sun' and 'Baby Don't Cry' were also BBC Radio 1"s hottest record. Julia Cumming appeared on Yves Tumor's 'Strawberry Privilege,' and the band toured extensively with the likes of Beck, Cage the Elephant, Interpol, Courtney Barnett, and more, while also playing countless festivals internationally. The band describes "Headful of Sugar is an album about outsiders, searching for meaning in the desert of modern life, disillusioned but hopeful. All of the opulence we're surrounded by is just sugar, connection to others is the real sustenance."
Released in 1965 My Generation was the debut album by The Who. The album peaked at #5 in the UK & launched the band into worldwide acclaim. Containing “My Generation”, “The Kids are Alright” & “The Ox” mastered by long time Who engineer Jon Astley from the original tapes. Packaged in original sleeve with obi & certificate of authenticity, this black vinyl version is engineered by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut.
A Quick One was released in 1966, containing experimental music Suite (a nod to Rock Operas that were to follow). The album contains “Boris the Spider”, “Don’t Look Away” & has been mastered by long time Who engineer Jon Astley from the original tapes. Packaged in original sleeve with obi & certificate of authenticity, this black vinyl version is engineered by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut.
AWOLNATION's upcoming album My Echo, My Shadow, My Covers and Me, set for a May 6, 2022, global release, is a fiercely collaborative and celebratory project. It's an eclectic collection of masterfully crafted and carefully curated covers, with each track featuring at least one acclaimed musical artist. It includes epic re-imaginings of classics like "Wind of Change" by the Scorpions, "Take a Chance on Me" by Abba, and "Beds are Burning" by Midnight Oil; and features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson & more. Available on one-of-a kind, recycled colored vinyl, mystery colored cassette and CD.
!!! present Let It Be Blue ' spanning 11 tracks, the band's production forward album incorporates a multitude of styles and genres, easily becoming their most ecclectic release yet. The band have taken a new approach to recording over the past two years, primarily working in the box to start, as opposed to their usual studio focused approach. The result, a prominent electronic / dance-leaning edge prevades the band's familiar sonic motiffs and songwriting, pushing the towards new dynamic limits for the New York mainstays.
Limited silver colored vinyl LP pressing. Every few years, musicians arrive on the scene with an undeniably fresh approach to a tried-and-true genre. Showcasing this with unparalleled proficiency is the acclaimed Los Angeles-based Americana band The Americans. Upon hearing their sophomore studio effort Stand True it's evident why revered producer T Bone Burnett raved, calling them, "genius twenty-first century musicians that are reinventing American heritage music for this century. And it sounds even better this century." Following their 2017 debut album, I'll Be Yours, The Americans took a step back, regained focus, and went into the studio at Big Bad Sound in Los Angeles to carve out an album of material that "is more our own than ever before," the band confirms. The overall touchstone of Stand True, which the band self-produced, is devotion in the face of loss.
Featuring a diverse and spectacular cast of collaborators, "The Atlas Underground Flood" is a treasure trove of creativity, spanning many genres. The album is the surprise sister record released on the heels of "The Atlas Underground Fire”. “Fire” and “Flood” are a continuation of the Rage Against The Machine guitarist’s groundbreaking 2018 album, “The Atlas Underground.” Morello’s insane guitar playing is on full display taking the instrument into the future and forging an alternative/rock/EDM masterpiece with heavy metal legends, punk icons and cutting edge firebrands.
2022 release. From their new millennium rise to MTV superstardom through pop-punk's modern resurgence that has introduced their iconic, multi-platinum sound to new audiences around the world, Simple Plan have been an indelible part of pop culture for more than two decades because they've never lost sight of what got them there in the first place: their fans. It's this same sense of mutual respect that's fully on display on "The Antidote," the first single from their sixth studio album, Harder Than It Looks, their first new music since 2016's Taking One For The Team, and the most authentically Simple Plan album since 2004's Still Not Getting Any.
Midland likes their music straight-up. Hardcore country, the kind you find in forgotten bars in Arizona, New Mexico, Texas, wherever the neon's buzzing, but not quite dead. The Grammy-nominated trio plots a resurgence of their thick harmonies, tart lyrics and steel guitar with The Last Resort: Greetings From. Unfiltered, they want their country 120 proof. Whether it's a cheating song, a heartbreak ballad or a shoot-out-the-lights romper, they savor the emotions with a gusto unseen for decades.
Transparent Orange Vinyl. Australian four-piece, Stand Atlantic are back with their third album, F.E.A.R., which includes hit single "deathwish ft. Nothing, nowhere." and "pity party ft. Royal & The Serpent." F.E.A.R. was born out of chaos, frustration, and uncertainty. This album is for those who don't fit the narrative, who see the cracks and exist in-between. It serves as a reminder that when you feel expectations are walking you down the wrong path, F* Everything and Run.
Canadian rockers Three Days Grace release their seventh studio album, Explosions via RCA Records. THREE DAYS GRACE singer Matt Walst states: "In these crazy and divided times, everyone needs something to take the edge off."
2022 release. Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. In 2021, it's time for a reintroduction. Newly signed to independent label Chrysalis Records, Sandé has freed herself from the expectations of others in order to make an album of expansive creativity, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. Something of an artistic rebirth, it draws on old familiarities and brave beginnings, uniting fans old and new in her endless drive to use music as a tool for inspirational lift.
Neil Young / Royce Hall 1971 - A live solo acoustic show recorded at UCLA's Royce Hall on January 30 1971. - Recorded on January 30, 1971, this concert was performed at the beautiful Royce Hall on the campus of UCLA in Los Angeles near the end of Neil's 1971 solo tour. This 16-track acoustic set features Neil on guitar, harmonica, piano and vocals. The album is produced and mixed by The Volume Dealers (Neil Young and Niko Bolas) and tracks include "Journey Through The Past", "Ohio", Don't Let It Bring You Down", and "Love In Mind".
Neil Young - DOROTHY CHANDLER PAVILION 1971 - A live solo acoustic show recorded at Los Angeles Dorothy Chandler Pavilion on February 1 1971. A famous bootleg titled "I'm happy that y'all came down". A solo acoustic show recorded on February 1st, 1971 - with Neil on vocals, guitar, piano and harmonica. This was the last night of Neil's 1971 solo tour, that also featured the shows have been released as the much-loved albums Massey Hall and Young Shakespeare. The show was marked by the first time Neil played harmonica live. This album features 15 songs including "On The Way Home", "Heart of Gold", "The Needle And The Damage Done" and "A Man Needs A Maid"
Neil Young / Citizen Kane Jr. Blues 1974 (Live at The Bottom Line) - A fan favorite bootleg that is usually called "Live at The Bottom Line". A surprise solo acoustic performance following a Ry Cooder show on May 16, 1974. Notably features songs that would be included on "On The Beach". The album title comes from Neil introducing the opening song with that title; a song that later became "Push It Over The End".
Pink Mountaintops’ first new album in eight years features 12 songs sparked from Stephen McBean's magpie-like curiosity for a wild expanse of cultural artifacts: David Cronenberg, Disney Read-Along Records from the '70s, early Pink Floyd, mid-career Gary Numan, John Carpenter movies, Ornette Coleman live videos. Featuring counterculture icons like Steven McDonald (Redd Kross) and Dale Crover (Melvins), Peacock Pools alchemize those obsessions into a body of work with its own enchanting power.
Miloe, a.k.a. Bobby Kabeya, is a 20-year-old Minneapolis artist, by way of the Democratic Republic of Congo, who released his incredible Greenhouse EP in 2020. Kabeya moved to the U.S. with his family at the age of 8 to reunite with his father, a journalist who was granted asylum three years prior. Greenhouse is an exhilaratingly energetic and youthful homage to summer and the weather patterns of his childhood, paired with lyrics of teenage melodrama and idealism. Indie Exclusive 10” LP.
Limited colored vinyl LP pressing. Ibeyi are French Afro-Cuban twin sisters Lisa-Kainde and Naomi Diaz. Performing from a young age, the daughters of famed Cuban percussionist Ánga Diaz, have released two critically acclaimed albums - a self-titled debut in 2015 and Ash in 2017. Ibeyi's Spell 31 is their boldest offering yet, an antidote to apathy in a divided world. Ethereal, crystalized signature Ibeyi harmonies are fused with gospel, persuasive percussion, momentous deeply resonant bass, and electronic neo soul expressions, transporting us into a sublime rawness that is refined by Richard Russell's precise hand and synthesized into astonishing clarity.
They have toured extensively across Europe, the US, Canada, Mexico, South America, Australia and Asia garnering devoted fans around the globe, including Beyoncé, ADELE, Quincy Jones, Erykah Badu, Angélique Kidjo, Lin-Manuel Miranda & more; whilst also having been invited to perform for icons - from Karl Lagerfeld to Prince.
Previous collaborations include tracks with Kamasi Washington, Meshell Ndegeocello, Mala Rodriguez and Chilly Gonzalez on their sophomore album. On Spell 31 they collaborate with Jorja Smith, Pa Salieu and BERWYN.
So Far So Good is the fourth studio album from Grammy award-winning and Billboard Chart topping artist/producer duo The Chainsmokers. The 13-track full-length album was written across Hawaii, Joshua Tree, New York City and LA from 2020 to 2021. It was written and produced by Alex Pall and Drew Taggart with additional contributions from frequent collaborators Emily Warren, Ian Kirkpatrick, and Whethan.
With its latest album, Fortune Favors The Bold, Russell County, Virginia-based 49 Winchesteris ready and roaring to break onto the national scene with its unique brand of tear-in-your-beer alt-country, sticky barroom floor rock-n-roll, and high-octane Appalachian folk.
Fortune Favors The Boldis not only a record that showcases the current state of 49 Winchester, it’s a melodic stake in the ground of how this group is constantly evolving and taking shape, sonically and lyrically. But, it’s also about looking into the rearview mirror with a genuine appreciation for where you came from and what you’re made of. Those salt-of-the-earth traits in your blood and character that define what it actually takes to climb that damn mountain of dreams. At its essence, Fortune Favors The Boldis about going against all odds to bring your art into fruition and into the world - come hell or high water.
Debut Album Solidifies Mallrat's Reputation as a Master of Clever, Timeless Pop
Available On Limited Edition [COLOR] Vinyl + CD Mallrat's prized pop songwriting has become a beacon the music industry eagerly follows, and on her debut album Butterfly Blue, she embodies the spirit of it's titular creature - but without the delicacy that keeps you at a distance. Over a dozen clever and open-hearted tracks, Mallrat - aka Grace Shaw - draws you in close and shows you the world through her wide, hopeful eyes.
A collaboration between Mike Patton (Faith No More, Mr. Bungle, Fantomas) and The Dillinger Escape Plan, this four song EP is a wildly progressive amalgam of musical styles that combines the feral intensity of hardcore, the technical precision of metal, mind-boggling tempo changes and sonic textures usually associated only with experimental electronic music. Irony Is A Dead Scene pushes the limits of speed, composition and complexity. Perhaps the most extraordinary track is a cover of Aphex Twin’s “Come To Daddy” which brilliantly and significantly serves to blur the distinction between “electronic” and “live” music. Reissued on vinyl to commemorate the 20th anniversary of the original release.
Record-breaking, award-winning, GRAMMY-nominated RAMMSTEIN – one of rock’s most individual and successful names – release a special, limited edition 7" vinyl of their single "Zick Zack" and "Zick Zack (RMX by Boys Noize)."
TOMORROW X TOGETHER (aka TXT) is back with a brand new release. minisode 2: Thursday’s Child is available in 3 versions: HATE, END & MESS. All versions include a CD, 64-page Photo Book, Lyric Card Set w/Envelope, Stickers (6 pieces), Logo Paper Toy Set, Poster, Post Card (random 1 of 5 of each version), Lenticular Card (random 1 of 5 of each version) and Photo Card (random 1 of 5 of each version). Box dimensions: 150 x 210 x 22 (mm).
White Vinyl. Set for release on May 13th via Communion Records, the album sees the much-loved folk-rock duo - made up of Andrew Davie and Kevin Jones - once again team up with producer Ian Grimble on what is one of their most personal records to date.Davie says: "Blue Hours is a kind of imaginary space you get into at night, a place where you process difficult things or where you try to figure everything out." Themes on the album include both self-reflection and mental health after both struggled with the latter in recent years. "It's the main over-arching theme with this record," Davie explains. The group, who have worked with mental health charity CALM (Campaign Against Living Miserably) previously added: "It probably speaks to our struggles and hopefully many other people's too. Men are not very good at talking. We're not really taught how to - men have no idea how to talk about this stuff, certainly to each other."The pair describe the conceptual blue hours headspace that gives the new album it's title as being "somewhere between a hotel, a mental health hospital, a bar that stays open later than anywhere else, a paradise, a dream, a nightmare and an endless sea of corridors and staircases leading you to rooms that represent memories - good, bad, happy or difficult." Despite the album's challenging themes, it's an album drenched in hope too. "We wanted this to be a celebration of music," Jones continues. "I think that informed some of the bolder decision making on this record. At a time when music was so distant, it felt important to make an album that sounded hopeful, celebratory, ambitious and beautiful in spite of the heavy subject matter in some of the songs." Jones adds: "It was almost like we needed to shout louder than before because we felt that there were more barriers between the audience and us. We needed something to transcend that."
Comfort To Me is the second album from Amyl and The Sniffers, somehow both heavier and more awesome than their debut. MOJO Magazine raved: "Skin-shedding, lethal, self-sufficient, cool: no wonder Amy Taylor digs snakes. With Comfort To Me, she proves she can be whoever she wants, while the Sniffers confound preconceptions of how great a rude and righteous rock’n’roll band can still be." This expanded edition features a bonus LP recorded live on a dock in Melbourne. Pressed on clear smoke vinyl.
Limited 180gm clear red colored vinyl LP pressing. Two decades into their venerable careers, Baltimore death metal savants Misery Index are back with their new record, Complete Control. Their seventh studio album and Century Media debut is a riff-driven assault that captures the tension of the modern condition and channels it into 9 songs of ripping end-times death metal. Spewing with Orwellian invective and razor-sharp songwriting, Complete Control is a much-needed hammer to the face; a wake-up call for the disaffected and dispossessed. The album was mixed by Will Putney (Fit For An Autopsy, Thy Art Is Murder, Body Count), mastered by Jens Bogren / Fascination Street studios (Kreator, Opeth, Arch Enemy) and features uncanny artwork by visual artist Matt Lombard.
Apollo’s long-awaited debut album IVORY brings him to another level in his career. Crossing genre lines as well as language barriers, the full-length showcases even greater musical diversity from the already boundless creator. Despite being at this pivotal moment in his career, Omar feels like he's just getting started. The artist who once called himself “just a kid from Indiana” is breaking new ground, abandoning all comfort zones, and never looking back.
Forrest Gump: The Soundtrack is based on the award-winning, critically acclaimed film, Forrest Gump. Originally released in 1994, the movie interweaves itself in time through the eyes of its title character, Forrest Gump, using music as a critical tool to tell the now classic story. Featuring 31 iconic pop hits including Elvis Presley’s “Hound Dog,” “California Dreamin’” by The Mamas & The Papas, and so many others, it’s no surprise this chart-topping album has gone on to become one of the greatest soundtrack albums of all time.
Four-time Grammy® Award winner Delbert McClinton celebrates his coming-of-age musical heroes and influences with his 27th studio album, Outdated Emotion (Hot Shot Records/Thirty Tigers), coming on May 13, 2022. The 16-track collection features Hank Williams, Jimmy Reed, Ray Charles, and Little Richard standards, as well as five original songs written or co-written by McClinton.
Delbert has spent much of the COVID isolation in Kevin McKendree’s Rock House Studio in Nashville. This new album brings his music back to where it started. Outdated Emotion pays homage to McClinton’s earliest influences, Hank Williams and Jimmy Reed with a salute to Ray Charles and Little Richard, as well as five of his own compositions, influenced by the sounds of his heroes. Along with Kevin and his son, musical prodigy Yates McKendree, Delbert has created the album he has often dreamed of. “I’ve always wanted to do an album of the songs that influenced me the most. Hank Williams songs, Jimmy Reed songs, and songs that I love. And this was the perfect time to do it. It’s important music from another time. It’s music that people need to hear again, or for the first time. Nobody knows about them. Or has forgotten about them. Or was never turned on to them. There is a whole generation, maybe two generations now, who don’t know this music. My whole idea here was to show them how it was and how we got here. Hank Williams, Jimmy Reed, Lloyd Price, Ray Charles. These songs take me to my youth. They are good if not better now than they were then, and they were great then. They are songs people should just get to hear.”
Rolling Stone calls Delbert McClinton the “Godfather of Americana Music.” In a career that has spanned more than six decades, his honkytonk blues sound and signature smooth voice have provided a soundtrack for American music history. He is a four-time Grammy winner (Traditional Blues Album in 2020 for Tall, Dark, and Handsome; Contemporary Blues Album in 2006 for Cost of Living and 2002 for Nothing Personal; and Rock Performance by a Duo or Group with Vocal in 1992 for "Good Man, Good Woman"), and received the Americana Lifetime Achievement Award in 2019. Growing up in Lubbock and Fort Worth, Texas allowed Delbert McClinton an early appreciation for the best of 20th century American music, with the songs of postwar America, honkytonk country, and southern blues. Delbert remembers where he was when he heard his first Hank Williams song. And he knew he wanted to play music for a living when he first heard Jimmy Reed. Leading the house band in the desegregated roadhouses on the outskirts of Fort Worth, Delbert backed Jimmy Reed, Muddy Waters, Bo Diddley and other blues legends, while making a name for himself as a regional player in the birth of rock and roll, opening shows for Little Richard, Jerry Lee Lewis and other pioneers of the new sound; and even headlining shows in Great Britain with Bruce Channel (“Hey Baby”), with a little-known Liverpool quartet. The Beatles as the opening act. In the early 1970s, as his “Two More Bottles of Wine” reflects, Delbert “went out west with a burning desire to set the west coast on fire….” He teamed up with Glen Clark for the Delbert and Glen sessions (Clean Records) and released two critically acclaimed albums before returning to Texas as the progressive country/blues awakening movement was starting to happen in Austin. Hippies and cowboys crowded together on sawdust dance floors watching history in the making as Delbert, Doug Sahm, Jimmie and Stevie Ray Vaughan, Freda and the Firedogs and Asleep at the Wheel set the stage for a new sound coming out of Texas. There, Delbert began to develop his signature sound, mixed rocking blues and hardcore country to create the unique style that has served him well through the last half century. Further solidifying his sound, Delbert went into the famed Muscle Shoals, Alabama studio and called on the Muscle Shoals Horns, who had recorded with everyone from Jimi Hendrix to Elton John. They joined his longtime band to create his next album. That signature horn sound has remained a mainstay in Delbert’s music. When Texas became the rage in New York City, a music venue called the Lone Star Café served as capital of Texas chic. Austin musician Cleve Hatttersley was the manager of the Lone Star. He said, “Everyone who was anyone came through the door on any given night: Mick Jagger, Johnny Paycheck, Tommy Tune. Jerry Garcia… and Delbert was the biggest star of the bunch. Delbert is the absolute heart and soul of Texas rhythm and blues. We had James Brown, George Strait, Elvis Costello… but the one that all the other stars came out to see was Delbert.” Delbert had succeeded in creating his own genre, a melting pot of American music, and people still cannot get enough of it. From those early days in Fort Worth roadhouses until the recent COVID crisis shut down touring shows Delbert and his band have crossed the country playing festivals, theatres, and iconic music institutions. From Farm Aid to Carnegie Hall, his popularity grew, and Delbert continues as a “musician’s musician,” influencing many artists along the way. Delbert released Tall, Dark & Handsome, (Hot Shot Records/Thirty Tigers) in 2019, to celebrate his 79th birthday. The album earned Delbert his fourth Grammy® for Best Traditional Blues Album. He also received the Lifetime Achievement Award from the Americana Music Association, and has been featured several times in the Country Music Hall of Fame’s series of live performances, programs and podcasts. In May of 2021, Delbert announced his retirement from touring. Fans and music journalists speculated about what he would do next. This was to be the first time in 64 years that he was not traveling interstate highways and backroads, playing a rigorous schedule. Outdated Emotion brings Delbert McClinton full circle to the songs that started it all.
This release marks the first vinyl reissue of the jazz classic by master conguero Mongo Santamaría. First released in 1976, Sofrito combines jazz with Afro-Cuban grooves, funk and soul. From the simmering blues of “Spring Song” to the devastating bass line of “O Mi Shangó” to the rousing groove of the title track, this set exemplifies the heady ambition of ’70s Afro-fusion at its most soulful. This edition features lacquers cut by Kevin Gray at Cohearent Audio and is pressed on 180-gram vinyl.
“Nikos Chatzitsakos Tiny Big Band'' was formed in 2018. In that project, Nikos arranges Jazz Standards for a unique instrumentation of six horns and piano trio plus some guest appearances on vocals, guitar, and vibraphone. Similar to a film director that brings the plot and characters of an old script to our modern world, Nikos connects the tradition of jazz music and its repertoire with post-bop modern aesthetics and harmonic soundscapes.
Really Really Happy is the album that kicks off the second phase of The Muffs career.” So begins Roy McDonald’s liner notes for the expanded reissue of the band’s fifth album. After eight years and four albums, The Muffs had written, recorded, and toured non-stop. After a break, the group was ready to do it all again, and was approached by friends (and sisters in law) Charlotte Caffey (Go•Go’s) and Anna Waronker (that dog), who had just started their own label – Five Foot Two Records. McDonald, bassist Ronnie Barnett, and singer/guitarist/songwriter Kim Shattuck had a new home, and were ready to do it all again. Really Really Happy arrived in 2004 to rave reviews. Now, nearly two decades later, it returns as an expanded double-CD / Digital release with 22 bonus tracks, including 16 of Kim Shattuck’s original demos for the album. There will also be a very limited edition of the LP available only at indie retail on colored vinyl with a 7” EP containing 6 bonus tracks, with a sleeve hand-stamped by Ronnie.
Produced by Clint WalshPerformed by Josh Klinghoffer & Clint WalshSongs by Josh KlinghofferEric Avery - Bass on 3, 5Eric Gardner - Drums on 1, 3, 5, 7Vanessa Freebairn-Smith - Cello on 10Mixed by Michael CraverFight For The Soul mixed by Andrew Scheps & Michael CraverOffend & Can't Put The Bullet Back In The Gun mixed by Andrew SchepsRecorded by Michael Craver at Now Space, Eric Palmquist at Palmquist Studios, Clint Walsh at Scarboro Sound, and Kody Reiners at EastWest StudiosAdditional engineering by Eric GardnerMastered by John Webber at AIR Studios
Communion, the debut album by Sister Ray, is a raw, meticulously-crafted portrait of momentous, ordinary moments; experiences that define your past, and instruct how you move through the world. . The record is anchored by guitar melodies that bear an undercurrent of turmoil, and echoes with the wisdom of hard-won lessons. It’s a break-up album invested in exploring the motivations behind actions, rather than attempting moral judgment. Out May 13 via Royal Mountain Records.
Jesse Mac Cormack's at last beginning to see what his music is all about. His second studio album is piercing as a look, tender as a goodbye'a collection of electronic songs that lift and crash like waves upon a shore. After a recording process that was by turns nourishing and peaceful, lonely and anguished, the gifts of time, distance and therapy have allowed the Montreal songwriter to finally understand everything he wants to say.
"Whatever you go through, you're always going to be alone with what you're living," Mac Cormack says. This was a hard-won lesson. In the deepest depths of the Pandemic, with a relationship in its ending, the musician recalls finally making a decision: to move forward, to change, to really begin to see himself. SOLO is the sound of that transformation, recorded over the course of a year and a half, marked by its hardships but also its relief.
As on Now, Mac Cormack's acclaimed 2019 debut, he plays almost every instrument himself, surrounded by a soundtrack of one. Across 11 rippling tracks, the singer summons a sonic world that's razor-edged and intimate, influenced by the textured electronics of James Blake, Little Dragon, Caribou and SUUNS. Drum machines stutter under blooms of synths; curses float below swirls of loving sound. Mac Cormack has hidden so much discomfort inside an album that's warm and glimmering, like a storm cloud before its strike. Even now, long after the season's passed, there's lightning in the air.
Toronto-based Deanna Petcoff shaped her unique brand of beautiful and confessional indie rock through years of devotion to music, sharing the stage with Molly Burch, Tokyo Police Club, The Nude Party and many more. She excels with heart-on-her-sleeve, emotive lyricism that showcases her strength as a songwriter and vocalist. To Hell With You, I Love You is a reckoning with the loss of a relationship, documenting the aggressive highs and deeply emotional lows that come from falling out of love.
Harry’s House is the third solo studio album from Grammy award-winning global superstar Harry Styles. The 13-track full-length album was recorded in multiple locations across the UK, Los Angeles and Tokyo from 2020 to 2021. It was written by Harry alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland.
Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical moments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight", with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's renowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release 'Carry Me Home'-would mark a personal high watermark for both artists. Captured live in the summer of 2011, 'Carry Me Home' showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Neither Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment."It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."
Van Morrison's 43rd studio album, What's It Gonna Take? (Exile Productions/Virgin) features 14 new compositions that collectively reflect his indefatigable drive to record and perform live in front of audiences. The album was produced by Morrison and is preceded by the single "Pretending," a gorgeous, restless, soul song.
AM Gold is the new album from multi-GRAMMY Award-winning band TRAIN. This will be the group’s first release of all-new original music in five years, and is their 11th studio album.
“Writing songs is hard. Not compared to so many things I suppose, but it’s difficult to create something that you love and then other people love as well. Writing songs for two and a half years in front of video screens instead of being in the presence of other humans has been a long, strange trip. And now here we are,” frontman Pat Monahan shares. “It has to start with love. Love that goes into work comes out of work. We this album and our fans. Thank you for waiting so long for us. I think it was worth it. AM Gold! Here we go!“
Jo Schornikow’s new album ALTAR is the perfect counterweight to 2019’s Secret Weapon. While that album was bare and scrappy bedroom folk, this new album is a joyful announcement of synthy indie-pop.
From Melbourne, Australia, Jo’s first job at 17 was as a church organist, a job she’s picked up again now in Nashville, where she lives with her husband Matthew Houck of Phosphorescent and their two children. She’s played keyboard in that band for over 8 years now, touring heavily all over the world as a full band, and ducking into BBC to record a duo session on their grand piano.
Rolling Stone called her last album “excellent,” Pitchfork calls her piano playing “sensitive” and “impressionistic,” and Gorilla vs. Bear describes her songwriting as “gorgeous and smouldering.” But the songs on ALTAR take all of that a step further. There are still those moments of quiet beauty, but they are exploded through with joy. There are windows-down, anthemic pop moments on “Visions” and “Lose Yr Love.”
Jo Schornikow is a songwriter flexing her craft and sharing songs that have a special charm that allow them to somehow feel honest, open, intimate and funny at the same time.
Floating On A Dream is the full length solo debut from Avi Kaplan. Produced by GRAMMY Award-winner Shooter Jennings (Brandi Carlile, Tanya Tucker, American Aquarium), the album’s steadfast musical foundation showcases Avi’s signature baritone vocals. Includes feature guest Joy Williams on the track “All Is Well,” which Avi co-wrote with Joy.
Frankie and the Witch Fingers simulated reality prototype! The band's live LEVITATION session finally has a proper vinyl release! Isolated in the heart of Joshua Tree, California, The Witch Fingers recorded these sessions during 2020, the great shutdown of Earth. Plug it into your brain and experience a deep-fried, multi-colored, sensory invasion featuring nine jams off their latest LPs MEPEM & ZAM. A psychedelic rock meltdown in the 4th dimension!
When Porridge Radio’s Dana Margolin, one of the most vital new voices in rock, began to consider the themes of her new album, three vivid words began to emerge: joy, fear and endlessness. The artwork of the band’s third full-length, Waterslide, Diving Board, Ladder To The Sky, is a surreal image that evokes the ducks and dives, slippery slopes and existential angst of life in recent times. “To me, the feelings of joy, fear and endlesses coexist together,” says Dana. “You’re never just happy or unhappy.”
Following Every Bad’s release in 2020, Margolin was quickly becoming regarded as one of the most magnetic band leaders around. But if Every Bad established Dana’s bravery in laying herself bare, her band’s third record takes that to anthemic new heights. While there are moments of guttural release, she also finds soft power on songs. “I used to think I had to be loud to be heard,” she admits, “but now I’m definitely less afraid of being gentle.”
The band’s first new single, ‘Back To The Radio’, sets out their stall, a lurching call to arms that contrasts Dana’s lyrics of panic and closing herself off. This song is just one of example in WDBLTTS that explores something that has long been an important part of Porridge Radio’s process: playfulness. “I think the album needed to have that balance,” Dana explains.
Balance: that’s the word the album seems to be eternally striving for – joy, fear and endlessness in harmony but also self-acceptance. Dana is more aware of how she’s creating a persona as her star continues to rise, and how she’s singing personal songs that now belong to other people which gives her purpose. She says, “I wrote these songs for myself, but I think everyone wants to feel like what they’re doing is useful in some way. I’m ready to embrace it all now, whatever happens.
Face The River is the new album from singer-songwriter Gavin DeGraw. The album is an emotional journey that reflects recent personal losses that Gavin has suffered. Face The River was produced by Dave Cobb (Chris Stapleton, Brandi Carlile, Sturgill Simpson) in Nashville, and this collection of songs is easily the most personal work Gavin has ever created.
In May of 1957, Art Blakey and his Jazz Messengers went into the studio with Thelonious Monk to record a one-off album for Atlantic. The Jazz Messengers were a loose collective of young Jazz musicians, with a constantly rotating lineup to keep the music fresh and help launch new careers. In this iteration we find Art Blakey on drums, Thelonious Monk on piano, Johnny Griffin on tenor saxophone, Bill Hardman on trumpet and Spanky DeBrest on bass. -Blakey had recorded with Monk on various occasions, but this was the first time Monk sat in with the Jazz Messengers. This also marks Thelonious Monk’s only appearance on Atlantic Records. The result is a true meeting of the minds, a beautiful union of Monk’s melodies with Blakey’s unshakable sense of swing. This 65thAnniversary deluxe edition includes an extra disc ofunreleased outtakes, celebrating the most sensational jazz collaboration of the 1950s.
The legendary CAVE IN makes a highly anticipated return with their Relapse Records debut, Heavy Pendulum, their first full studio record in over a decade. The band (Stephen Brodsky - Guitar/Vocals, Adam McGrath - Guitar/Vocals, John-Robert Conners - Drums) sees a revival following the addition of Nate Newton (Converge, Doomriders, Old Man Gloom) on bass and vocals. Produced by Kurt Ballou at God City, Heavy Pendulum showcases everything that has long established CAVE IN as one of the best contemporary rock, hardcore, and metal bands since their monumental 1998 debut Until Your Heart Stops. From the driving tracks such as crushing opener "New Reality" to the metallic edge of "Blood Spiller", Heavy Pendulum sees CAVE IN look back at their discography and capture their most memorable, visceral, and forward-thinking moments to create a record that is all at once familiar and in true CAVE IN fashion, ahead of the mainstream.
Pusha T returns with his highly-anticipated fourth studio album, It’s Almost Dry. Picking up where his GRAMMY-nominated, #1 rap album Daytona left off, Pusha stays true to his roots with his signature snarl, razor-sharp lyrics, and menacing beats. Produced entirely by Pharrell Williams and Kanye West, It’s Almost Dry features an all-star cast including Jay-Z, Ye, Pharrell, Kid Cudi, Lil Uzi, and more. The 'Rap Album Of The Year’ has arrived!
Coming fresh off his 3 year residency as lead guitarist in Frank Zappa’s band, Vai spent the majority of 1983 in the studio. These recordings resulted in the 1984 release of Flex-Able which introduced Vai to the world as a solo artist. The standout instrumental track, “The Attitude Song”, was featured in the October 1984 issue of Guitar Player magazine as the first sound sheet Flexi Disc and quickly established Vai as a bonafide and powerful innovator of guitar pyrotechnics. Flex-Able has served as an integral part of Vai’s career that paved the way for him to join Alcatrazz, David Lee Roth’s band, Whitesnake, and his follow up, platinum tour-de-force, second album Passion & Warfare. No expense or process was spared in the refurbishing and re-release packaging for Flex Able. It was remastered in 2020 by Bernie Grundman using the original ¼” analog master tapes.
Controlled By Hatred/Feel Like Shit…Deja-vu is where Suicidal Tendencies put down the Pepsi, got possessed to skate and cranked up the tempo into thrash’s proverbial red. By 1989, guitarist Mike Clark had jumped to ST from fellow Venice wrecking crew, No Mercy (who Suicidal covers on four of this record’s tracks) and upped the ante as Mike Muir’s loved-n-feared mob gave the likes of Anthrax, Slayer or Megadeth a run for their collective monies. This is Suicidal Tendencies at their fastest and deadliest.
Born into a musical family, as a child Charlie Hickey would obsessively watch videos of his parents on tour in their old band Uma, learning all the lyrics that he loved but didn’t understand. This introduction to music sowed a seed, and Hickey was soon writing songs of his own, playing on the guitars that lay around him and singing about the little details of his school days. He continued throughout his teen years, his songs becoming an outlet for the growing anxieties that Hickey now understands to be Obsessive Compulsive Disorder.
This journey has led to Nervous At Night, Hickey’s debut album which releases in the early Summer of 2022 via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s Count The Stairs EP was an attempt to capture the rawness of his performance, Nervous At Night comes alive within its production, Hickey and producer Marshall Vore leaning into their perfectionist tendencies to find the best version of each track. “He’s always interested in how you can push things further but also reigns them in when necessary,” Hickey says. “I think that’s the true hallmark of a good producer.”
Hickey calls it a pop record but admits that sonically it moves in many directions, an amalgamation of his love for the folk singers of yesteryear and more contemporary peers, from Taylor Swift and The 1975 to the Californian songwriter and producer Blake Mills. This shifting of styles – from the album’s quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors its overarching theme: life’s graceless passage between teenage years and adulthood.
And so we have ‘Planet With Water’, a plaintive love song that bristles with nostalgia, Hickey singing of phone calls after school, of hearing a neighbor’s TV through the wall. Elsewhere‘Mid Air’ holds a similar weight, Hickey singing of “spinning in mid-air, waiting for some where to land, or some face to show up” as the song flourishes around his voice, delicately accompanied by guest turns from fellow LA musicians Harrison Whitford, Christian LeeHutson and Mason Stoops.
Nervous At Night comes alive in its juxtapositions, chronicling the constant push and pull of life, both its stagnancy and motion. Chiefly though, this is an album about connection, how even through those struggles we rely on the people around us to keep moving forwards.“I’d like to write songs that are for everyone, that let people into my inner world while also hopefully making people feel less alone on their own. I hope that these songs can be therefor somebody the way my favorite songs have been for me.”
Following the release Reprise - a collection of acoustic and orchestral arrangements of tracks from his 30-year career - influential EDM pioneer Moby continues to explore the terrain where electronic and acoustic sounds meet. Moby and other leading artists including Bambounou, Biscits, MaxCooper, Efdemin, Anfisa Letyago, Mathame, Planningtorock and Topic to Felsmann + Tiley, Peter Gregson and Christian Loffler have now reimagined some of these recordings for Reprise - Remixes.
The RED GREEN BLUE album will be released via 3CG Records on May 1320 The new Red Green Blue album brings together the band's three unique creative voices like never before with a third of the album written and produced by each brother (Taylor's Red, Isaac's Green and Zac's Blue). The project brings together a team of collaborators, with the album co-produced by Grammy Award-winning Producer, Engineer and Mixer Jim Scott (Tom Petty, Red Hot Chili Peppers, Wilco), and Grammy Award-winning Artist and Producer David Garza (Fiona Apple, Midland, Sharon Van Etten).
Beginning in June in Europe, the RED GREEN BLUE WORLD TOUR will bring HANSON to the US and Canada from July-September, Latin America in September and Australia & New Zealand in November. The band's first major tour since their String Theory album & tour in 2018/2019, fans will be in store for a tour which not only features the premiere of 15 songs from the new project but will also be the first tour to include live performances of 2020's Against The World as well as career spanning set lists of fan favorites.
Fresh off of the release of Against The World, featuring seven songs released consecutively each month, the prolific band of brothers are reinforcing their deep musicality and credibility as writers, performers and producers with the new project. Leading up to May's full album release of RED GREEN BLUE, fans will get a taste of the trifecta of sound, with a single featuring each of the brothers. Coming February 11 Taylor's earnest and dynamic "Child At Heart", March 11 will see the release of Isaac's organic and heartwarming "Write You A Song" and April 15 will feature the rock infused pop of Zac's "Don't Let Me Down".
Punk rock pioneer with X, songwriter, poet, actor, solo artist, published author...folk musician. With Fables in a Foreign Land, the debut release from The John Doe Folk Trio, his tales are now set in the pre-Industrial Era. And though many of the 13 songs were written over the last three years, the sound was born in loose weekly backyard jams on Kevin Smith’s (Willie Nelson and Family) patio. “I guess ‘Fables in a Foreign Land’ is my version of folk music. It started by being sick of musicians that play too much and having to orchestrate or arrange songs. ‘What if it was just less?’ Everyone says less is more, but you have to figure out for yourself what that means. I didn’t do a deep dive into folk music and concern myself with what was ‘traditional,’ it was just an outgrowth of trying to strip the songs down to the basics.” Singles include contributions from outsider country polymath Terry Allen on “Never Coming Back,” Los Lobos’ Louie Perez on “El Romance-O,” and fellow X bandmate Exene Cervenka and Shirley Manson (Garbage) on “Destroying Angels.”
Away From You is the debut album from Serbian guitarist and composer Jovan Milovanovic. The nine compositions weave catchy melodies which are playful but often with a tinge of melancholy through the peaks and valleys of extended solos while keeping groove at the center of each piece. The result is a tapestry of styles and influences tastefully blended into a complex and engaging whole filled with good vibes and a contagious positive energy.
Craig Finn is a Minnesota-bred singer/songwriter based in New York City, best known as the singer of The Hold Steady. Finn spent the ’90's leading Minneapolis indie band Lifter Puller, which released 3 albums and an EP. After relocating to New York, he joined with Lifter Puller member Tad Kubler to form The Hold Steady in 2003. The Hold Steady quickly achieved critical acclaim and a worldwide fanbase with their unique pairing of dense lyrical narratives with big rock guitars. The Hold Steady has released eight LPs, including Open Door Policy in February 2021. Finn released his first solo album in 2012 with three additional solo LPs put forth since 2015 - Faith in the Future, We All Want The Same Things, and 2019's I Need a New War - which coalesced into a sign-of-the-times musical trilogy. Finn’s debut book “I Can’t Keep Saying Thank You”, a collection of his song lyrics, was also released in 2019. A double album of b-sides/outtakes All These Perfect Crosses was released in 2021 accompanied by a limited edition graphic novel/comic book. Pitchfork has described Finn as “a born storyteller, who has chosen rock as his medium.”
When performing his solo material live, Craig Finn is joined by a dynamic group of musicians called The Uptown Controllers.
Legendary New Zealand band The Verlaines are proud to release Live at the Windsor Castle, Auckland May 1986.
Packaged in a beautiful gatefold jacket, the artwork is a replication of the vintage gig poster. Sky Blue vinyl, complete with download code and liner notes from singer Graeme Downes: “This album may end up the hands of people who weren't even born when these performances took place, so, let me tell you what it was like. The Verlaines. at the time, were Graeme Downes, Jane Dodd and Robbie Yeats. We lived in Dunedin at the near-bottom of the South Island of New Zealand. We were at University. These gigs were recorded to try to capture a live version of Slow Sad Love Song for the upcoming Birddog album that we recorded later that year.
Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now re-released as a replica of the original 12-track cassette compiled by The Clash.
Norah Jones’ seminal debut album, Come Away With Me, became a global phenomenon reaching #1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 GRAMMY Awards with 8 wins including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. The remastered 20th Anniversary Edition captures the emergence of a singular talent on this now-classic album.
21-year-old singer-songwriter-producer Dafna is the whole package. From age 4 she trained in classical piano and by 11 was writing and singing her own songs. At 17 she added recording and production skills to her tool belt and forged ahead on her creative journey with sharp instincts, eclectic taste, and new found self-sufficiency.
With her first single release in 2019, "if you're a dove," Dafna's signature hypnotic blend of folk and minimalist electronic pop blossomed.
Less than three years later, she's already independently released two albums and an EP, and reached 120k+ monthly Spotify listeners, all while studying Electrical and Computer engineering at the University of Colorado, Boulder.
On her brand new studio album, When I Was With You, Dafna does a deep dive into the different versions of herself and other people in her life. "It’s about the journey of trying to figure out who you are after losing someone close (whether that’s losing them to death or them simply not being in your life) and learning how to navigate life without them."
Shygirl is a multidisciplinary artist from the East London club scene. She has finished her first major body of work, her debut album entitled, Nymph. Written and produced by Shygirl, alongside long-term collaborator Sega Bodega, it features additional production by Mura Masa, Bloodpop, Danny L Harle, and Noah Goldstein among others. The 12-track album is a stunningly innovative and diverse collection of songs exploring themes of friendship, community, escapism, love, and loss. Indie Exclusive Translucent Blue LP.
The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: “This Is What Happened.” It’s an understatement that manages to say everything. This is what happened: pandemic, politics, social unrest, war. This is what happened: a band at the peak of its creative power deciphering the turbulence surrounding us, and blazing a way through it. This is what happened: nine new songs that capture everything essential about Metric —modular synthesis, muscular guitars, locked-in rhythm and shimmering vocals from Emily Haines.
Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. Shaw brought on Synthetica collaborator Liam O’Neil as well as longtime friend Gus van Go (The Stills) to co-engineer and co-produce with him. When the border opened, Metric bassist Joshua Winstead and drummer Joules Scott Key came in from the U.S to record, adding live energy and sonic depth to complete the Metric sound.
The result is a conceptual arc that progresses from tension and turmoil to dance-floor abandon, beginning with the edgy ten-minute album opener “Doomscroller,” and progressing through a color wheel of emotions, from determined perseverance on “What Feels Like Eternity” to self-emancipation in full orchestral bloom on the title track as Haines poses the question, “Why not just let go?” There’s a sense of resolution in the very matter-of-fact, deceptively catchy “False Dichotomy,” and the album ends on a melancholy high with “Paths in the Sky,” a love song to lifelong friendship, a thematic companion track to “All Comes Crashing,” an end-of-days banger and the first single.
“This is what we’re all thinking about,” Haines says. “So let’s address it, let’s have this whole expansive emotional experience that can feel collective instead of all going through it alone.”
Formentera is available on standard CD, and a low-priced indie exclusive CD on 7/8. The standard black vinyl, and Indie Exclusive Sky Blue vinyl will be available on 9/30. All formats are available for pre-order today from your local record store.
A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy.
In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now—and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. “The art of making music is the art of manipulating time,” says Uji. “I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams.”
An Argentintian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers.
Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America—and its intersection with various strains of electronic music—but Uji taps into traditions—both musical and spiritual—that can’t be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human.
It’s impossible to describe Action Bronson in a way he hasn’t already thought of. First and foremost though, Action Bronson is a principled MC, a Queens legend respected for his idiosyncratic pen and vivid raps, now a decade into his career and still deepening his skillset. “TRUST WHEN I SAY IT AIN’T SAFE FOR ANY OF THESE ANIMALS THE ANCIENT APEX PREDATOR IS BACK ON THE PROWL.” – ACTION BRONSON
Created as a celebration of Prine’s life and career, Broken Hearts & Dirty Windows: Songs of John Prine, Vol. 2 features new renditions of some of Prine’s most beloved songs performed by Brandi Carlile, Tyler Childers, Iris DeMent, Emmylou Harris, Jason Isbell, Valerie June, Margo Price, Bonnie Raitt, Nathaniel Rateliff, Amanda Shires, Sturgill Simpson and John Paul White. Proceeds from the album will benefit twelve different non-profit organizations, one selected by each of the featured artists.
Released to widespread acclaim, NPR Music praises, “aside from being one of the greatest songwriters we’ve ever had, he was also an amazing mentor to so many artists...his spirit really comes through,” while American Songwriter declares, “Those who fail to be affected by the effort involved may want to check their pulse to assure that there’s still a heart within them that’s beating at full force” and No Depression proclaims, “Broken Hearts and Dirty Windows, Vol. 2 ensures that that remarkable gift and his influence continue to live on.”
Throughout his six-decade long career, Dr. John embodied a near-mythic multitude of musical identities: Global Ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, and a massively revered high priest of psychedelic voodoo.
Things Happen That Way, his final studio album, adds another dimension to his musicality: a lifelong affinity for country & western. It's a glorious farewell from one of the most essential figures in music history.
Skid Row are out to reclaim their turf as kings of hard rock and proclaim, “The Gang’s All Here”!
“The Gang’s All Here” is an oath to joy triumphant, bursting with euphoric energy that makes us hunger for more. It is the logical next-generation leap of the band’s trademark sound which stomps out new ground with singer Erik Grönwall (formerly of H.E.A.T, one of the best frontmen of this or any hard rock era) joining the family.
Produced by Nick Raskulinecz, long-time fan and much in-demand producer (Foo Fighters, Rush, Alice In Chains, Halestorm, Evanescence), Skid Row are ablaze. They are re-energized, picking up exactly where they left us wanting more, kicking their sound way up to modern hard rock royalty.
Throughout his six-decade long career, Dr. John embodied a near-mythic multitude of musical identities: Global Ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, and a massively revered high priest of psychedelic voodoo.
Things Happen That Way, his final studio album, adds another dimension to his musicality: a lifelong affinity for country & western. It's a glorious farewell from one of the most essential figures in music history.
The “Platinum Blonde Edition” is the definitive version of Marina and the Diamonds’ acclaimed sophomore album Electra Heart. This limited edition set includes the rare tracks “EVOL” and “Electra Heart” available on vinyl for the first time ever. Also included are the massive TikTok hits “Bubblegum Bitch” and “Primadonna” as well as fan favorites “How To Be a Heartbreaker” and “Teen Idle”. Pressed on two magenta-colored discs, housed in a gatefold sleeve, and wrapped in an iridescent slip case this is a must- have collector’s item for Marina fans old and new.
Omnium Gatherum’s sprawling 16 tracks of gonzoid prog jams, dizzying pop nuggets, rubber-legged hip-hop odysseys and passages of pure thrash-metal abandon offer plenty for Gizzard fans and neophytes alike to chew on. Typically, Gizzard albums pursue a single theme or style – but part of the thrill of O.G. for the group was the opportunity to present new ideas without committing the entire album to just one. It’s both the perfect entry point for newcomers, and a solid treat for the faithful. Indie Exclusive “Lucky Dip” Random Color 2 LP.