After two UK#1albums,2 millionalbum sales and an array of international acclaim, you might’ve thought you knew what to expect fromRoyal Blood. Those preconceptions were shattered when they released‘Trouble’s Coming’last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
WhenMike KerrandBen Thatchersat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced byDaft Punk,Justice, andPhilippeZdarofCassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,”recallsKerr.“That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”
Those traits pulsate throughout the new single and title track.Kerr’sspiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned byThatcher’sthundering beats, his taut rhythms infused with groove-laden hi-hats.
After setting the tone with‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of‘Who Needs Friends’hitting an early visceral peak.Royal Bloodfurther reference their fresh array of influences by deploying vocodered vocals on‘Million & One’before dynamically switching between the biggest contrasts of their sound with‘Limbo’. Already a fan favourite having been a regular during the duo’s2019shows,‘Boilermaker’lives up to its reputation and is more than matched by‘Mad Visions’, which evokes a hyper-aggressivePrince. It ends with a final surprise in the shape of the stark piano ballad‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.
This new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’themselves.‘Boilermaker’was produced byQueens of the Stone AgefrontmanJosh Homme, the two bands having first connected whenRoyal Bloodsupported them on a hugeNorth Americantour. Meanwhile, the multipleGrammy AwardwinnerPaul Epworthproduced‘Who Needs Friends’and contributed additional production to‘Trouble’s Coming’.
The Million Masks of God showcases the strength and boundary-pushing invention of Manchester Orchestra’s catalog, and is a testament to the kinship of its songwriting duo—the bond that enables them to take something so tragically personal and turn it into limitless, compassionate, communal, revelatory art.
if i could make it go quiet, the debut album from girl in red, is the musical distillation of Marie Ulven’s solitary conversations on the road: it’s an album brimming with the things we wish we could say to others, but tell ourselves instead. The album is girl in red in its purest, elevated form. She has never been braver, and the music follows suit, whether it’s collaborating with pop mastermind and Billie Eilish collaborator FINNEAS on “Serotonin,” a huge pop anthem that speaks to Ulven’s struggles with mental health, or flexing her instrumental chops with album closer “it would feel like this.” Betrayal, lust, longing, pulling herself out of a depressive spell -- nothing is off-limits on if i could make it go quiet.
“I really poured my heart into a lot of these lyrics, fully,” she says. “I just feel like I emptied myself in this album.”
Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium.
The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.
Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”
A unique new album of poetry and music featuring Marianne Faithfull, set to the music of Warren Ellis, and featuring Nick Cave, Brian Eno and Vincent Ségal.
Marianne Faithfull releases one of the most distinctive albums of her extraordinary life and career with composer and multi-instrumentalist Warren Ellis. It was recorded just before and during the first Covid-19 lockdown – during which the singer herself became infected and almost died. Together with musical friends and family, She Walks in Beauty fulfils Faithfull’s long-held ambition to record an album of poetry with music.
Delving deep into her past, it’s a record that draws on her passion for the English Romantic poets, a passion she fostered at St Joseph's Convent School before leaving for London at the age of 16. There she entered the world of As Tears Go By, of Mick Jagger and the Rolling Stones, setting her on a left-hand path to pop stardom. Sixties iconography and outrage followed, as did her subsequent battles with addiction before her 1979 return to powerful female and artistic autonomy with Broken English.
On Dropkick Murphys' new album, Turn Up That Dial, the band boots in the front door of 2021 with a record that punches you square in the face and says, in the words of Ken Casey, "Get up, get out of those sweatpants you've been wearing for the last year... better times are ahead - LET'S F-in' GO!!"
The world looks a little different through rose gold sunglasses. At least, that’s what Ashley Monroe has found.
“Everything’s a bit more magical when I put them on,” she says, “a bit more miraculous. It’s a beautiful way to go through life.”
It makes sense, then, that Monroe’s spectacular new album, Rosegold, is her most joyous, blissed-out collection yet. Written and recorded over the past two years, the record finds theGRAMMY-nominated Nashville star pushing her sound in bold new directions, drawing on everything from Kanye West and Kid Cudi to Beck and The Beach Boys as she layers lush vocal harmonies atop dreamy, synthesized soundscapes and sensual, intoxicating beats. Monroe worked with a variety of producers on the album, letting the tracks dictate her direction rather than any arbitrary adherence to genre or tradition, and the result is a record as daring as it is rewarding, an ecstatic, revelatory meditation on happiness and gratitude that tosses expectation to the wind as it celebrates our endless capacity to love, and to be loved, even in the midst of chaos and tragedy.
“I’ve always been good at writing sad songs because I’ve experienced a lot of sadness in my life,” Monroe reflects. “When my son was born, though, it was like some sort of innocence got plugged back into my heart. I’d never really felt that kind of joy before, and I wanted to find a way to make it last.”
Born in Knoxville, TN, Monroe first began turning heads in Nashville as a teenager, when she arrived in town with a notebook full of mature, emotionally sophisticated songs that belied her young age. A jack-of-all-trades, she picked up work behind the scenes at first, singing on sessions at Jack White’s Third Man Studios and penning tunes that would appear on albums by the likes of Guy Clark, Carrie Underwood, Jason Aldean, and Miranda Lambert. Monroe and Lambert forged a close personal bond through their collaborations, and in 2011, they teamed up with fellow Nashville journeywoman Angaleena Presley to launch the critically acclaimed trio Pistol Annies, which would go on to top the Country Album charts, crack the Top 5 on the Billboard 200, and earn a GRAMMY nomination for Best Country Album. Monroe’s solo output was equally lauded, with NPR hailing her work as “subtle and breathtaking” and Rolling Stone praising her writing as “riveting [and] sharp-witted,”and over the course of three studio albums, she would land her own GRAMMY nomination for Best Country Album, share bills with the likes of Vince Gill and John Prine,and perform everywhere from The Tonight Show and Conan to Late Night and The View.
Leon Vynehall returns with new album ‘Rare, Forever’ — the follow up to his critically acclaimed debut album ‘Nothing Is Still’, which garnered widespread praise including appearing in ‘Album of the Year’ lists from Rough Trade, Mixmag, Esquire, Resident Advisor and received an 8.2 review from Pitchfork (also included in their Albums of the week roundup).
Vynehall has collaborated with Eric Timothy Carlson and Aaron Anderson (both Grammy nominated for their work with Bon Iver) on the 'Rare, Forever' artwork and imagery .
Grammy nominated, multi-platinum selling singer-songwriter Julia Michaels is set to release her highly anticipated full-length debut, Not In Chronological Order. The 10-track album is executive produced by Monsters & Strangerz, with two songs co-written with JP Saxe. Each track takes listeners through a storytelling journey of events in Julia’s love life and explores themes of being happy and most importantly: love.
Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.
Endless Arcade follows the band’s ninth album Here, released in 2016. It's quintessential TFC: melodies are equal parts heartwarming and heartaching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.
In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as Bandwagonesque and Grand Prix. This century, albums such as Shadows and Here have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.
Reissue on vinyl of the sixth PJ Harvey studio album Uh Huh Her.The album was self-produced and originally released in May 2004.Uh Huh Her features the singles ‘The Letter’, ‘You Came Through’ and ‘Shame’.Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.
Collection of unreleased demos of written for the sixth PJ Harvey studio album Uh Huh Her, including demos of ‘The Letter’ and ‘Shame’.Features brand new artwork with previously unseen photos by Maria Mochnacz.Artwork is overseen by Maria with Rob Crane.Mastering by Jason Mitchell at Loud Mastering, under the guidance of longtime PJ Harvey producer Head.
Following the global broadcast of Venture Into Cures, on November 18, 2020, Eddie Vedder released a pair of singles- "Matter of Time" and "Say Hi" via Seattle Surf Co./Republic Records. Additionally, Vedder shared an animated music video for the powerful, passionate, and poetic "Matter of Time" and live video for "Say Hi," an oft-sought after live favorite now officially available for the first time. Limited Edition 7-inch vinyl.
Blood From the Soul is the vision of legendary musician Shane Embury, longtime member of extreme pioneers Napalm Death. In the early 90's Embury partnered with Lou Koller (Sick Of It All) to create the Blood From The Soul debut "To Spite The Gland That Breeds" (Earache, 1993). The album was an experimental fusion of industrial, metal, hardcore, and punk. And along with Godflesh, Pitch Shifter, Meathook Seed, and Scorn, they helped spawn a new wave of industrial-metal. Fast forward to 2020 and Blood From the Soul has awakened from hyper-sleep. Joining Embury on this new creative journey are now Dirk Verbeuren (Megadeth, Soilwork, Aborted, Tronos), Jacob Bannon (Converge, Wear Your Wounds, Umbra Vitae), and Jesper Liveröd (Nasum, Burst). "DSM-5" is a twelve song conceptual album from Blood From the Soul. Lyrically the album is written from the perspectives of human beings as well as sentient machines. Metaphorically it explores the relationship between consciousness and physical/psychological deterioration amid a multitude of stresses. Reading as both dystopian science fiction as well as poignant editorial on the turbulent present and our uncertain future.
Limited Indies Exclusive Signed Edition! Demon Records presents Distortion: 2008-2019, the third in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould's career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume three in this new series covers the period 2008-2019 and contains many of Bob Mould's most celebrated recordings including Silver Age (2012), Patch The Sky (2016), and Sunshine Rock (2019). 7 LPs including - 6 studio albums -District Line (2008), Life And Times (2009), Silver Age (2012), Beauty & Ruin (2014), Patch The Sky (2016), and Sunshine Rock (2019). Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. Bonus LP Distortion Plus: 2008-2019 which features Mould's collaborations with Foo Fighters and Butch Walker plus the 2019 single 'I Don't Mind'. Pressed on clear vinyl with an etched B-side. Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston. Plus a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; contributions from J Mascis and Shirley Manson; lyrics and memorabilia.
Twelve inch vinyl pressing. Grammy Award-winning artist and producer Robert Glasper releases his new single "Better Than I Imagined" featuring H.E.R. & Meshell Ndegeocello, two of the most powerful female voices in contemporary music. The song is paired with a beautiful video animated by Gianni Lee, which paints a surreal and post-apocalyptic world where heroes come to heal the Black community through love. Glasper's exposure has been strong coming off his heralded new project Dinner Party and 2019 mixtape Fuck Yo Feelings.
Charleston rock duo Shovels & Rope continue their Busted Jukebox series where they join forces with their musical friends to cover classic songs in their own unique ways with Busted Jukebox Volume 3. Out digitally on February 5 and on physical formats on April 30, Volume 3 sees the duo covering a series of kid-friendly songs, such as "Tomorrow" from 'Annie' featuring The War and Treaty, "You Are My Sunshine" featuring The Felice Brothers, and "What A Wonderful World" featuring John Paul White, along with some other classics like REM's "Everybody Hurts" alongside T. Hardy Morris, and The Beach Boys' "In My Room" featuring Sharon Van Etten.
Country Again, Side A marks ACM Awards Entertainer of the Year Thomas Rhett’s fifth studio album. According to Thomas, this album “is a lot of nostalgia and a lot of reflection; but rooted in the here and now, and in the work-in-progress of the man I am today. It’s things about life that I wanted to say at 19 years old, but I hadn’t even begun to gain the experience to know exactly what those things were, or how to say them. In that regard, this album was 11 years in the making.”
Loney dear, aka singer/songwriter/multi-instrumentalist Emil Svan„ngen, will release his second album, 'A Lantern and A Bell,' for Real World Records. Heralded by outlets such as Stereogum, Sunday Times UK, Rolling Stone and Uncut, Loney Dear's music is sensitive yet uplifting. PR teams will be engaged in multiple territories, in addition to videos for key tracks and social media marketing across Real World and Six Degrees channels. Peter Gabriel calls it "the work of a master."
Is it really a musical?! The 33rd Guided by Voices album, Earth Man Blues, is a magical cinematic rock album, full of dramatic and surreal twists and turns. Lyrics and liner notes trace the growth of young Harold Admore Harold through a coming of age and a reckoning with darkness. Vivid scenes appear: snapshots of youth, fantastical nightmares, unknown worlds. The music hasn't softened a bit. One will hear the impossibly perfect melodies and word play that you expect from Robert Pollard, with the band playing at peak-heavy. "Trust Them Now" rocks like an instant classic, "The Batman Sees The Ball" is lean, mean rock muscle. Opener "Made Man" tears and slashes at the ears and heart. Sweeping, colossal tracks like "Lights Out (In Memphis, Egypt)" and "Dirty Kid School" stretch far beyond the ordinary vocabulary of rock. Doug Gillard's brilliant guitar playing explodes out of the speakers. The rhythm section of Kevin March and Mark Shue, always strong and reliable, has grown into a breathing composite organism. Along with Bobby Bare, Jr on rhythm guitar, they drive the songs and make one's head shake. Producer Travis Harrison ties the talents of the band together, once again recorded remotely and individually, pandemic-style. This group brings to life the sounds in Pollard's technicolor imagination.
Completely remixed from original multitracks, overseen by producer Yoko Ono Lennon, featuring Ringo Starr, Klaus Voormann, George Harrison, Eric Clapton, Billy Preston & Phil Spector. Ultimate Mixes, Outtakes, Elements, Raw Studio, Evolution, Demos, Jams & Yoko Live Sessions. 2 Blu-Ray Audio Discs: 159 new mixes, 11+ hrs, HiRes 192/24: Stereo, 5.1 Surround & Dolby Atmos. 6 CDs: 102 new mixes, 6+ hrs. 132-page hardback book with rare photos, memorabilia & extensive notes. Poster & 2 postcards.
On limited Translucent Purple Ripple vinyl. Here is Sweep It Into Space, the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And Sweep It Into Space is a masterpiece of zoned dialing. Recorded, as usual, at Amherst's Biquiteen, the sessions for Sweep It Into Space began in the late Autumn of 2019, following a West Coast/South East tour. The only extra musician used this time with Kurt Vile. Indeed, Sweep It Into Space is a very cool album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. Lou's songs here are as elegant as always. But there are very few moments where you wouldn't know you were hearing Dinosaur Jr. In blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with Sweep It Into Space, without ever losing their central core.
On the heels of his recently released New York Times Best Selling memoir, the rock n' roll legend and Grammy winning artist Peter Frampton turns his focus back to music with his new studio album Frampton Forgets The Words. With his 1954 Les Paul Phenix, Frampton brings virtuosic guitar playing to 10 instrumental interpretations of his favorite songs including "Isn't It A Pity" by George Harrison, "Reckoner" by Radiohead, and more. Now available on 180g 2LP black vinyl, with an etching on side D.
Reigning CMA Entertainer of the Year Eric Church confirmed that new music is on the horizon: "I have [new] albums coming out in April. They came out of my 28 days in the mountains of North Carolina, where the songs were recorded and written. The collection is entitled Heart & Soul."
The debut feature written, produced and directed by Marnie Ellen Hertzler. Set in the desert of Crestone, Colorado over the course of eight days and set to an original score composed by Animal Collective's Geologist & Deakin. Crestone follows a group of SoundCloud rappers who live in solitude, growing weed and making music for the internet. When an old friend arrives to make a movie, reality and fiction begin to blur.
Vinyl LP pressing. A folk record with funk elements and street singer elements and psychedelic elements. Todd calls it "P-Folk" or "Folkadelic." "With this album I had the idea for the sound first, I think. I wanted to do what I was calling funk in back and busking up front with [Beatles'] white album-y shit scattered about. I had done a lot of listening to and looking into Parliament and James Brown and lots of reggae music, too." Borne from Todd Snider's popular weekly live stream series from The Purple Building in East Nashville (pictured on the album cover). "The songs started for me when Jeff Austin passed away. I made up "Sail On, My Friend," then the touring stopped, and so I started a Sunday morning show. Viewers started jokingly referring to it as a church and to me as a reverend. I've only reverend-ed twice. But I have the license so in my mind this opened me up to play bossy kinds of songs... then John Prine passed away, and I made up a song for him ["Handsome John"]."
New album from Paris-based band Pærish, produced by Will Yip (Title Fight, Code Orange, Circa Survive, The Menzingers) out 2021 on SideOneDummy Records.
Pærish have made friends and toured with a plethora of high-profile American and British bands, from Sum 41 to Silversun Pickups, Moose Blood to Movements - something that's practically unheard of for a French band to do in the alternative rock scene. It truly shows how transcendental their music is, and how easily it can break barriers that plenty of others have failed to break. You might think that would cause extra stress for the band, but it doesn't - Pærish just want to focus on themselves simply by pushing themselves to improve with every song they write.
5CD + 2 7" Singles Super Deluxe Remastered Edition featuring the album in both Mono and Stereo, bonus tracks featuring 14 previously unheard Pete Townshend Demos, studio sessions, outtakes, unheard jingles and more. The package also features 9 posters, replica ephemera, and an 80 page hard bound book with rare photos and new liner notes by Pete Townshend. 112 tracks, 46 unreleased.
Initially released in December 1967 and described latterly by Rolling Stone as “The Who’s finest album,” The Who Sell Out reflected a remarkable year in popular culture. As well as being forever immortalized as the moment when the counterculture and the “Love Generation” became a global phenomenon and “pop” began metamorphosing into “rock.”
The new Super Deluxe Edition of The Who Sell Out features 112 tracks, 46 of which are unreleased, an 80-page, hard-back, full-color book, including rare period photos, memorabilia, track-by-track annotation and new sleeve notes by Pete Townshend with comments from the likes of Pete Drummond (Radio London DJ), Richard Evans (designer) & Roy Flynn (the Speakeasy Club manager).
The Super Deluxe package also includes nine posters & inserts, including replicas of 20” x 30” original Adrian George album poster, a gig poster from The City Hall, Newcastle, a Saville Theatre show 8-page program, a business card for the Bag o’ Nails club, Kingly Street, a Who fan club photo of group, a flyer for Bath Pavilion concerts including The Who, a crack-back bumper sticker for Wonderful Radio London, Keith Moon’s Speakeasy Club membership card and a Who Fan Club newsletter.
The Who Sell Out was originally planned by Pete Townshend and the band’s managers Kit Lambert & Chris Stamp, as a loose concept album including jingles and commercials linking the songs stylised as a pirate radio broadcast. This concept was born out of necessity as their label and management wanted a new album and Townshend felt that he didn’t have enough songs.
The ground-breaking original plan for Sell Out was to sell advertising space on the album but instead the band opted for writing their own jingles paying tribute to pirate radio stations and to parody an increasingly consumerist society.
The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design created by David King who was the art director at the Sunday Times, and Roger Law who invented the Spitting Image TV show. The sleeve features four advertising images, taken by the renowned photographer David Montgomery, of each band member Odorono deodorant (Pete Townshend), Medac spot cream (Keith Moon), Charles Atlas (John Entwistle) and Roger Daltrey & Heinz baked beans. The story goes that Roger Daltrey caught pneumonia from sitting in the cold beans for too long.
The Who Sell Out is a bold depiction of the period in which it was made, the tail-end of the “swinging-60s” meets pop-art mixed with psychedelia and straight-ahead pop. It’s a glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallized for what was only the group’s third album. The album’s ambition and scope is unrivalled by the Who, or any other act from that period.
Within the bold concept, were a batch of fabulous and diverse songs. “I Can See for Miles,” a top ten hit at the time, is a Who classic. “Rael,” a Townshend “mini-opera” with musical motifs that reappeared in Tommy and the psychedelic blast of “Armenia City In The Sky” and “Relax” are among the very best material anyone wrote during the 1960s.
One of the most extraordinary albums of any era, The Who Sell Out is The Who’s last “pop” album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid.
SUPER DELUXE EDITION OF THE CLASSIC GROUNDBREAKING ALBUM 112 TRACKS ACROSS FIVE CDS & 2 7” SINGLES FEATURING 46 UNRELEASED TRACKS INCLUDING 14 UNHEARD PETE TOWNSHEND DEMOS 80-PAGE HARD BACK BOOK WITH NEW LINER NOTES BY PETE TOWNSHEND AS WELL AS RARE POSTERS, INSERTS & MEMORABILIA ★★“WE WERE HOPING TO GET FREE JAGUARS. WE GOT FIFTY FREE TINS OF BAKED BEANS”★★
Frontman and songwriter JJ Julius Son has been in the studio off-and-on for two years, allowing for a combination of globe-trotting and meticulous tinkering, resulting in a spectrum of sounds recorded around the world - in North America, South America and across Europe. The final product is refreshingly free of calculation, with Julius Son allowing each tune to dictate its path while simultaneously leaning-in to his blues, folk and rock inclinations.
"Where Do We Go From Here" is Dumpstaphunk's first album in seven years. It will be released on April 23, 2021 on The Funk Garage, an imprint of Mascot Label Group. Over its past 17 years, Dumpstaphunk has earned its reputation as the most well-regarded next-generation New Orleans live powerhouse, the type of band whose live shows attract sit-ins from legends like Carlos Santana, Bob Weir and Trombone Shorty. Alongside Hall, Daniels, Alex Wasily, Ryan Nyther and drummer Devin Trusclair, cousins Ivan and Ian Neville have built upon their family’s iconic NOLA legacy as they’ve transformed Dumpstaphunk into the city’s pre-eminent 21st-century funk-fusion export. The band’s mix of classic and modern influences can be heard throughout the party-friendly mix of R&B, funk, rock, swamp-pop and blues of "Where Do We Go From Here," from the slap-bass rave "Make It After All" to the band's contemporary renderings of NOLA R&B rarities (the 1975 Blackmail gem "Let’s Get At It") and early Seventies classics (Sly and the Family Stone's "In Time").
Field Music return with their new album 'Flat White Moon' on 23 April 2021. Following their heptad of critically acclaimed albums that has seen them nominated for a Mercury Music Prize, perform on BBC's Later with Jools Holland and tour on both sides of the Atlantic, new album 'Flat White Moon' began with the desire to play and to have fun. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles. This playfulness became a way to offset the darkness and the sadness of many of the lyrics. Field Music take on the challenge of representing negative emotions in a way that doesn't dilute or obscure them but which can still uplift. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.
The Spaceman Reissue Program edition of Lazer Guided Melodies promises to give those recordings the fullest spectrum audio and physical treatment they’ve deserved since 1992. It will be the first in this series of 180g double albums mastered from a half speed lacquer cut from original sources by Alchemy Mastering, presented in a gatefold jacket adorned by reworked art by Mark Farrow, and available in both a standard black vinyl pressing and limited edition white vinyl, as well as CD.
Fourteen years after the release of My Brother's Blood Machine, Coheed and Cambria frontman Claudio Sanchez has revived his Electronica/Folk Pop side project The Prize Fighter Inferno for his second LP, The City Introvert. An eclectic mix of electronic, rock, synth, and acoustic, The City Introvert is a welcome addition to the libraries of long-time Coheed fans and synth pop fans alike.
Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians, who've taken on jazz as their musical narrative. On his new album Bring Backs the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, Antiphon and the 2019's album Structuralism were both self-released on his Sekito label. His latest endeavour, 2021's Bring Backs, sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.
The term "Guitar Hero" is bandied about loosely these days. Seems like all you have to do is look good holding the thing and you qualify. But if you ask the actual guitar heroes---like Brian May, Jeff Beck, and Eric Clapton---who THEIR Guitar Heroes are, Steve Cropper is definitely on the shortlist. If all he had done were the records with Otis Redding that would be enough, but shortly thereafter he was leaving his fingerprints on records by Wilson Pickett, Sam & Dave, Johnny Taylor, Albert King, and virtually anybody worthy who came within earshot of Memphis. He was a Guitarist's Guitarist, and a Songwriter's Songwriter. Fire It Up is Steve Cropper's first album of new Soul/R&B material in 10 years. The album was produced by Steve and Jon Tiven, and will be released worldwide on April 23, 2021 via Mascot Label Group/Provogue.
Vivian Leva & Riley Calcagno's self-titled record is old-soul roots music to it's core. Though both just out of college, the duo's musical talents extend far beyond their years. Produced by Cajun roots heavyweight Joel Savoy at his GRAMMY-winning studio, Vivian Leva & Riley Calcagno is not some soulless collection of songs imitating previous masters of American music. Rather, the pair has responded to one of the darkest eras in American history with an album of stunning breadth and originality. With mass protests and fires raging near their current home in the Pacific Northwest, and no prospect of touring anytime soon, it's an aptly biting, bittersweet group of songs for an uncertain time. Yet, Leva and Calcagno balance this with a sense of optimism-a notion that at our most vulnerable we might emerge better humans because of it all, perhaps beginning with our own intimate relationships. The eleven tracks elegantly reprise the deep threads of old-time and classic country present throughout Leva's debut album-she did grow up in rural Virginia, the daughter of celebrated old-time musicians, after all. However, the pair fluidly meld this traditional backbone with fresh iconic melodies, expanded production, and the tightly wound vocal harmonies of indie folk. It's an artistic statement made from this moment but built to last.
Some musicians take a while to build an audience and connect with fans. For the Los Angeles-based quartet Dirty Honey, success came right out of the gate. Released in March 2019, the band's debut single, "When I’m Gone," became the first song by an unsigned artist to reach No. 1 on Billboard's Mainstream Rock chart. Their second single, "Rolling 7s," went into the Top 5 and was still headed up when COVID changed everything. That same year, Dirty Honey opened for The Who, Guns ’N Roses, Slash, and Alter Bridge and was the "do-not-miss-band" at major rock festivals such as Welcome to Rockville, Rocklahoma, Louder Than Life, Heavy MTL, and Epicenter. On its first U.S. headline tour in January and February 2020, the band sold out every date.
When it came time to record its self-titled full-length debut album, the band—vocalist Marc LaBelle, guitarist John Notto, bassist Justin Smolian, and drummer Corey Coverstone—wasn't about to mess with what was already working. Teaming up with producer Nick DiDia (Rage Against the Machine, Pearl Jam), who also produced the band's 2019 self-titled EP, Dirty Honey again captured the lightning-in-a-bottle dynamics and energy of their live sound.
"As a guitarist, I'm always inspired by the everlasting pursuit of the perfect riff," says Notto. "I also wanted to extend the artistic statement that we had already made. We weren't looking to sound different, or prove our growth, necessarily. It was more about, 'Oh, you thought that was good? Hold my beer.'"
"Because of the pandemic,” added drummer Coverstone, “we had a lot more time to write and prepare, which was great. It meant that we were able to workshop the songs a lot more, and I think it really made a difference."
Dirty Honey's album indeed builds on the band's output to date, with airtight songwriting that plays up their strengths: sexy, bluesy, nasty rock'n'roll, melodic hard rock, and soulful 70s blues-rock. On "The Wire," LaBelle reaffirms his status as one of contemporary rock’s best vocalists, while “Another Last Time” is a raunchy, timeless ballad about a toxic relationship that you just can’t stop saying goodbye to. “Tied Up” and the album’s lead single “California Dreamin,’’ both feature smoking guitar solos bookended by massive riffs and hooks.
Minimalism and instinct, structure / freedom and meticulous timing form the cornerstones of their precise, rhythmical sound. Lyrically, the album explores the weight of race and gender, endurance and navigating other people's behaviours, observation and protest. The band further comment "this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality."
On April 23, 2021, melodic death metal pillar BODOM AFTER MIDNIGHT will release their new EP, Paint The Sky With Blood, via Napalm Records. Paint The Sky With Blood was recorded in Finland back in 2020 and was meant to be the beginning of an exciting new chapter that sadly ended far too soon. The three-track offering is an impressive, overwhelming sonic tribute to an absolute legend of the metal scene – matchless late guitarist/vocalist Alexi Laiho – and at the same time, a modern homage to the genre itself. A storm of raging guitars and blaring drums merge with Laiho’s versatile vocal power, leading into a heavy attack – title track “Paint The Sky With Blood” – opening the 14 minute EP. The track is strikingly reminiscent of early-CHILDREN OF BODOM elements, while also adding exciting modern influences into the fold. Second stunner “Payback’s a Bitch” and its massive riffing are on a quest for retribution, delivering a hard-hitting, second to none offense. The interplay of Alexi Laiho, guitarist Daniel Freyberg, drummer Waltteri Väyrynen (Paradise Lost), bassist Mitja Toivonen (ex-Santa Cruz) and live keyboardist Vili Itäpelto is not only a testament to the band's extraordinary musical ability, but also showcases their skill in deftly incorporating a variety of genre influences. Closing cover track “Where Dead Angels Lie” is an absolute triumph – originally performed by Swedish extreme metal formation Dissection, the track shines as a timeless classic with a new edge. Eerie riffs and vocals alternating between menacing murmurs and characteristic guttural, distorted vocals stay faithful to the original while branding this version with an undeniable BODOM AFTER MIDNIGHT punch. With Paint The Sky With Blood, BODOM AFTER MIDNIGHT hold the sceptre of metal in their hands, bestowing an impressive fragment of their inimitable legacy.
After three years, one-million concert tickets sold across five continents, four consecutive #1 singles, a GRAMMY Award, and performances on The Tonight Show Starring Jimmy Fallon and Saturday Night Live, GRETA VAN FLEET is hurtling into the future with its second album, The Battle at Garden's Gate on Lava/Republic Records. Indie Exclusive on white vinyl.
Finding Wildflowers (Alternate Versions)—the latest offering of Tom Petty music, curated with help from his loving family, bandmates and collaborators—will be released on April 16 via Warner Records. The tracks, which were previously released on the limited-edition Super Deluxe 9-LP version of 2020’s Wildflowers & All The Rest, will now be available on limited edition gold vinyl for indie retail, and CD. A black vinyl release will follow on May 7.
Finding Wildflowers (Alternate Versions) features 16 studio recordings of alternate takes, long cuts and jam versions of Wildflowers songs as Tom, band members and co-producer Rick Rubin worked to finalize the album in 1994. The release offers fans further deep access into the writing and recording of Wildflowers, as well as realizing the full vision of the project as Tom had always intended.
The collection was produced by Tom’s longtime engineer and co-producer Ryan Ulyate who listened to 245 reels of 24-track tape, revealing Tom and his collaborators’ evolutionary process, and finding the group willing to do whatever it took to discover the essence and magic in the material.
Reigning CMA Entertainer of the Year Eric Church confirmed that new music is on the horizon: "I have [new] albums coming out in April. They came out of my 28 days in the mountains of North Carolina, where the songs were recorded and written. The collection is entitled Heart & Soul."
Indie Exclusive includes a litho print (the grey print of the OG album cover.)
On June 20, 2000, Deftones released their third studio album, White Pony, which was immediately acclaimed as a masterpiece by fans and critics alike. Fueled by the successful singles "Change (In the House of Flies)" and "Digital Bath," the album is the band's highest selling album and is certified platinum by the RIAA. The band also won the 2001 Grammy for Best Metal Performance for the song "Elite."
In the 20 years since release, the album has continued to grow in stature and influence. Inspired by DJ Shadow's Entroducing..., Deftones had the idea to have DJ Shadow reimagine the entire White Pony album, and call it Black Stallion. Twenty years later, Deftones hand-picked a diverse and brilliant collection of artists, including DJ Shadow, to make that idea a reality.
White Pony (20th Anniversary Edition) is now being re-issued with Black Stallion as the bonus disc. Black Stallion is an album of newly commissioned remixes (all done in 2020) of the 11 tracks on the original release of White Pony. Black Stallion includes remixes of each of the individual 11 tracks from the original White Pony album by different artists including DJ Shadow, Robert Smith, Squarepusher and Mike Shinoda.
Cannibal Corpse will be releasing a new studio album called "Violence Unimagined" on 4/16. The title tells you everything you need to know about CannibalCorpse's fifteenth hellish opus. Comprising eleven tracks, it is state of the art death metal played with passion and breathless precision, making for another flawless addition to what is inarguably one of the premier catalogues the genre has thrown up.
After the success of Painted Shield on RSD, Loosegroove Records will be releasing a previously unreleased punk album recorded in 1982. The Living features Duff McKagan (of Guns N' Roses, Velvet Revolver) and Greg Gilmore on drums (of Mother Love Bone)
The legendary So-Cal punk group The Offspring return with their 10th album (and first new offering since 2008), the blistering and triumphant Let The Bad Times Roll. Produced by Bob Rock, the group describes the album as "the most cathartic thing we've done. The messages might be dark, but at the end what's left is that communication is important, working through feelings is important and most of all, hope is important."
The goal of the album is to show Imelda May returning to her most honest self. Truthful beauty, feminine intuition. Intelligence. Visually, we should be showing a soft sense of warm spirited grittiness. Intimate. At home. Behind the curtain Imelda's radiant smile and illuminating laughter. A nod to her roots. Irish Heritage & inherent connection to storytelling. Imelda's words as a lyricist/poet/writer & overall thread to her Irish roots as a storyteller is a key thread within the campaign.
The Network were formed in the year 2003, fulfilling an ancient prophecy predicting that we, its chosen members, would issue a stern warning to mankind in the form of music. Released as the album titled Money Money 2020, we shined the headlights upon the follies and vanity of mankind. Rapidly achieving fame and fortune, we had often been mistaken as the planet’s greatest rock ‘n’ roll band, Green Day. This earthly comparison is almost as comical as the humans that inhabit this dying planet! A Time Machine & The Church of Lushotology... After our mercurial rise and the foundation of the Church of Lushotology, we have seen riches beyond imagination, thus we abandoned the doldrums of stardom and focused our efforts on time travel and the salvation of things beyond the human grasp! Within our travels through both time and space we have seen the futures foretold in the prophecy, and it is both disastrous and hilarious! Beyond these interstellar crossroads lie parallel dimensions where the oxymorons can create their own destiny! Choose wisely, for the devolution of man has always been a choice. The release of Money Money 2020 Part II: Told Ya So! will serve as the final lesson! Within the binary codes of this album exist the keys to our past, present, and future DNA! The Gods are laughing & it’s up to you to prove them wrong... You're welcome... -The Network The Church of Lushotology is in session and it’s time to drink up!
Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get through the pandemic.
Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium, and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls.
This year, the Lu's Jukebox Series will be made widely available on Vinyl and CD. Volume 1, Running Down A Dream: A Tribute to Tom Petty, features songs from the namesake's celebrated career and is scheduled for an April 16th, 2021 release date.
In 2014, Mark Wystrach, Cameron Duddy and Jess Carson spent ten days in El Paso, TX at Sonic Ranch Recording Studio to record a demo album. During those days, a brotherhood was forged. A sound was established. MIDLAND WAS BORN. Six years later, Midland is a multi-platinum selling band that has toured the world over, received two Grammy nominations and won ACM New Group Of The Year. The Sonic Ranch album releases those original recordings for the first time. Limited Edition CD.
Description: Nearly two decades into her storied career, 9-time GRAMMY-winning singer, songwriter, pianist, and 2020’s most livestreamed artists, Norah Jones is set to release her first full live album ‘Til We Meet Again.The collection presents globe-spanning performances from the U.S., France, Italy, Brazil, and Argentina that were recorded between 2017-2019. The 14 songs featured on ‘Til We Meet Again also span Jones’ entire career from her 2002 debut Come Away With Me (“Don’t Know Why,” “I’ve Got To See You Again,” “Cold, Cold Heart”), 2004’s Feels Like Home (“Sunrise,” “Those Sweet Words”), 2012’s Little Broken Hearts (“After The Fall”), 2016’s Day Breaks (“Flipside,” “Tragedy”), as well as her more recent singles series (“It Was You,” “Begin Again,” “Just A Little Bit,” “Falling,” and the GRAMMY-nominated “I’ll Be Gone”).
The album closes with Jones’ stunning solo piano performance of Soundgarden’s “Black Hole Sun,” a tribute to Chris Cornell that was recorded at the Fox Theatre in Detroit just days after Cornell’s death following a performance at the same venue.
FITZ introduces this chapter with the title track and first single “Head Up High.” Sunny acoustic guitar and handclaps strut towards an upbeat and undeniable chorus backed by boisterous horns. “The song was a telling moment,” he recalls. “We logged into the ZOOM session, and you could read the weight we were carrying on our faces. Collectively…not as a city, community, country, or even continent…the whole fucking world is carrying the weight of what the Global Pandemic has meant. We’re all experiencing it at the same time. So, the statement rang out, ‘You’ve got to keep your head up’. The message feels so relevant. Life is not a sprint; it’s a fucking marathon. I needed to hear that message and express it in a song to rally everybody to keep their heads above water.” It’s a message that certainly applies to the moment, but really rings true forever.
Garage A Trois return in the form from which they were born 22 years earlier with a new studio album, ‘Calm Down Cologne.’ Comprised by guitarist Charlie Hunter, saxophonist Skerik and drummer Stanton Moore, OG GAT released its debut album ‘Mysteryfunk’ to wide acclaim in 1999. The band evolved over the pursuant years in various configurations before eventually going on hiatus following its 2015 album, ‘Always Be Happy, But Stay Evil.’ In 2019, however, the original trio reunited for a handful of shows. This would also result in an afternoon spent recording at Pearl Jam guitarist Stone Gossard’s Studio Litho in Seattle, right across the street from where the band was playing a sold out, three night run at Nectar Lounge. Ace engineer Randall Dunn was invited to document the proceedings and in one magical session the resulting album was captured. Dunn would take the tracks back to AVAST! Recording Co. for mixing. With all but a few edits on the beginnings and ends of performances, Calm Down Cologne presents the music as it was played in the studio that day. A high-stepping mind/body elixir, 'Calm Down Cologne' finds Garage A Trois in full improvisational flight, composing live, in the moment, on the studio floor. Hunter on the Hybrid Big6 and Moore on the drums and cymbals are locked in a mountainous groove throughout. Simultaneously, Skerik conjures the melodic lines with one hand on the saxophone and the other on a clutch of analog keys: Modal 001 synth, Rhodes 54 and Mellotron, among them. The jaunty title track is the only pre-composed piece on the collection, while Seattle singer Christa Wells adds the LP's sole overdub—a Stereolab-esque inspired vocal matching the sax/keys line on aptly-titled "The Epic." Set opener “No Zone” finds OG GAT channeling Stuff with Eddie Harris sitting in. The outcome is electrifying. The album's centerpiece, the massive “In-A-Pro-Pro," stretches ten-plus minutes as it checks a number of vital boxes for which Garage A Trois are celebrated: stone cold funk, outer-space breakbeats, ‘70s 'On The Corner' guitar grease. Ever the masters of shapeshifting, OG GAT seamlessly reconfigure course on "Numinous," a dubbed-out descent that winds down the record. As for the rather curious album title, the story goes that legendary underground Seattle artist Rick Klu gave Skerik the idea when he was describing a bouncer having to use some ‘calm down cologne’ on an unruly patron. More metaphorically speaking, a whiff of Garage A Trois' new magic potion elicits a “free your mind and your ass will follow” response—truly a much needed balm in these anxiety-ridden times.
In modern-day progressive rock, it seems as though there is a new supergroup every few weeks. But long before this was the norm, and before musicians were routinely involved in more than one band, there was Liquid Tension Experiment. Back in 1997, Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater), and Tony Levin (King Crimson, Peter Gabriel), joined forces to create Liquid Tension Experiment. The foursome would release their iconic, self-titled debut album in 1998 and the dazzling follow-up, LTE2 in 1999, creating a dynamic, frantic, and inventive sound all their own. The incredible creativity between the collective would prompt Petrucci and Portnoy to invite Rudess to join Dream Theater, effectively marking the end of this side project. However, since that time, there have been few reunions more in demand. Now, with the world in lockdown and calendars unexpectedly aligned, the inconceivable has finally happened…Liquid Tension Experiment 3. The 8 songs on the new LTE3 are a mix of 4 fully composed tracks, 2 duets, 1 on-the-fly jam and 1 meticulously arranged cover. “We composed four songs. We realized that that was the same with the first 2 albums. So, this time around we did the same,” Portnoy explains. Jordan Rudess agrees, “It felt like a continuation, like we stopped recording LTE2 and walked in a week later we're doing LTE3. I know it's amazing to say, but time has passed in a moment, the blink of an eye, the chemistry is the chemistry, and it didn't change. It was great back then and it still is.” Petrucci comments: “Who would think that a bunch of guys our age would be playing like that? It's relentless. It's definitely like a statement, you know we're back. It follows in the Liquid Tension Experiment tradition absolutely, which is, that when you press play, it steamrolls you.”
The Armed returned with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack 'Night City Aliens' and 2018's critically acclaimed album Only Love, which landed on 'Album of the Year' lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (QOTSA, A Perfect Circle), Ben Koller (Converge, Mutoid Man) and more.
Amigo The Devil has become a dark folk anomaly drawing attention from everyone from the likes of Noisey, Consequence of Sound, Kerrang, Brooklyn Vegan and more. LA Weekly described him as “Johnny Cash at his blackest, mixed with Father John Misty, if he exhumed graves at Hollywood Forever Cemetery.” While Rolling Stone proclaimed, “Kiranos unflinchingly explores dark and grim subject matter from suicide to serial killers… he spins these topics into dark love songs that explode into heavy-metal catharsis. He also balances out this bleak material with an undercurrent of humor that really translates in his gregarious live performances.
Limited colored vinyl LP pressing. It's been five years since Saint Raymond hit the Top 10 with his debut Young Blood, but the singer-songwriter hasn't stood still. He's been constantly refining his sound, experimenting with new ideas and picking up millions of streams for the EPs A Light That Blinds and Three.
2021 release. Escape the Fate's seventh full length studio album, Chemical Warfare, include tracks such as "Walk On" and "Invincible (feat. Lindsey Stirling)." The band captures roughly 2 million monthly listeners across streaming platforms each month. Past releases have had success on the Billboard charts, such as hitting No. 1 on their Hard Rock Albums charts three times and working with A-list producer, John Feldmann. Their upcoming release also features collaborative efforts with blink-182 drummer, Travis Barker. Chemical Warfare is Escape the Fate's new chapter in their bold future.
United State Of Mind brings together three very different UK music legends: Robin Trower, Maxi Priest and Livingstone Brown. Three artists with distinctive, trademark sounds and styles that dovetail and fuse together, creating an excellent whole that is full of atmosphere, allure and soul.
3CD/3DVD Anniversary Collection Expands The Group’s 1980 Album With Steven Wilson’s Newly Remixed Version Of The Original, Plus Unreleased Studio And Live Recordings, And A Remixed Version Of The Slipstream Video Collection
The follow-up to his Nonesuch debut, Satin Doll, released earlier this year, DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar—accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s “Old Town Road,” which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer.
Marty Friedman's presence in the world of music, the world of guitar, and Japanese pop culture is mystifying, bizarre, and nothing short of inspiring. Starting in 1988 with 'Dragon's Kiss', Friedman has regularly put out well received solo records. 'Tokyo Jukebox 3' is the latest in this distinguished, ongoing line. As the title suggests it's the third in this series of albums featuring covers of Japanese songs and follows on from 'Tokyo Jukebox' in 2009 and 'Tokyo Jukebox 2' in 2011. Let's all enjoy the fruits of his labour of love on 'Tokyo Jukebox 3', where Friedman takes J-Pop hits by the likes of Da Pump, Momoiro Clover Z, Sekai No Owari and Little Glee Monster, and gives them his own charismatic interpretations. Tokyo Jukebox 3 will be released in Europe, Australia and New Zealand on April 16, 2021 via Mascot Label Group/The Players Club.
"Fearless was an album full of magic and curiosity, the bliss and devastation of youth. It was the diary of the adventures and explorations of a teenage girl who was learning tiny lessons with every new crack in the facade of the fairytale ending she'd been shown in the movies. I'm thrilled to tell you that my new version of Fearless is done and will be with you soon. It's called Fearless (Taylor's Version) and it includes 26 songs." - Taylor Swift. Includes 6 unreleased tracks.
The fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world.
Rhiannon Giddens’ new album They’re Calling Me Home, recorded with Italian multi-instrumentalist Francesco Turrisi, will be released April 9 on Nonesuch Records. Giddens and Turrisi, who both live in Ireland when they aren’t on tour, have been there since March 2020 due to the pandemic. The two expats found themselves drawn to the music of their native and adoptive countries of America, Italy, and Ireland during lockdown. Exploring the emotions brought up by the moment, Giddens and Turrisi decamped to Hellfire, a small studio on a working farm outside of Dublin, to record these songs over six days. The result is They’re Calling Me Home, a twelve-track album that speaks of the longing for the comfort of home as well as the metaphorical “call home” of death, which has been a tragic reality for so many during the COVID-19 crisis.
They’re Calling Me Home features several traditional songs that Giddens hasn't played for years, including some of the first old-time pieces she ever learned: "I Shall Not Be Moved," "Black As Crow (Dearest Dear)" and "Waterbound." The album also includes a new song Giddens wrote, “Avalon,” as well as an Italian lullaby, “Nenna Nenna,” that Turrisi used to sing to his infant daughter that took on new resonance during the lockdown.Giddens says of Alice Gerrard, the folk music pioneer, who wrote “Calling Me Home”: “Some people just know how to tap into a tradition and an emotion so deep that it sounds like a song that has always been around — Alice Gerrard is one of those rarities; ‘Calling Me Home’ struck me forcefully and deeply the first time I heard it, and every time since. This song just wanted to be sung and so I listened.”They’re Calling Me Home also includes two well known songs about death: “Amazing Grace” and “O Death.”The minstrel banjo, accordion and frame drums that have become characteristic of the pair’s sound are well represented on the album, but it’s the viola and cello banjo combination that captures unexpected emotion and intensity. Joining them at key moments are Congolese guitarist Niwel Tsumbu and Irish traditional musician Emer Mayock on flute, whistle, and pipes. Engineer Ben Rawlins was key to the shape and sound of the record while Giddens and Turrisi produced and Kim Rosen mastered.
With over 5,000 performances spanning four decades, 20 million records sold worldwide, and inducted into the Rock and Roll Hall of Fame, CHEAP TRICK is undoubtedly one of the most influential classic rock groups of the past 50 years. The band was formed in 1974 and while it has evolved throughout the years, CHEAP TRICK has continued to reach mainstream and critical success. Hits such as “I Want You To Want Me,” “Dream Police,” and “Surrender” have cemented the group as one of America’s top rock ‘n’ roll bands of all time.
In the midst of the thick New Orleans summer of 2017, Chris Lyons of garage punks Bottomfeeders found himself sitting on a small batch of songs that didn’t quite fit the fuzzed-out pileups of that band. The new songs were more chiming, driving but relaxed, full of little corners begging to be filled with classic pop harmonies and wayward country licks. He called in his trusted confidants: Bottomfeeders drummer and longtime musical partner Lucas Bogner—the two started playing music together at the tender age of 15—plus bassist Pete Campanelli, and Kunal Prakash (Jeff the Brotherhood) dug the songs and signed on, and the quartet started playing in earnest, hunkering down in the practice space.
By the time the band played its first gig in late 2018 at the opening of Nola’s ManRay Records, the songs had multiplied and the members of the newly christened Silver Synthetic had become genuine rock & roll craftsmen. In a world that doesn’t seem capable of swaying, Silver Synthetic’s self-titled debut shakes and boogies.
It makes sense that the band’s first gig was in a record shop ‘cause folks, this is record nerd-core in a major way, evocative of the LP's first golden era, as the late sixties oozed into the strange 1970s, with the requisite T-Rex stomps, Britfolk twists and turns, and dueling Verlaine/Lloyd guitars. It’s about warmth, and you can practically smell the gently glowing amp tubes on “In the Beginning,” which wafts along on a gust borrowed from Lou Reed’s beatific Coney Island Baby breeziness. With “Chasm Killer,” the boys lean into jammy heartland rock, almost approaching Silver Bullet Band territory at one point! Even when the band kicks into charging lean rock-n-roller, like on the Kinksy “Around the Bend,” there’s a laid-backness that allows more room for the spirit.
You could call Silver Synthetic rock & roll formalists, but the truth is they're more like minimalists, stripping away tired clutter and unnecessary bloat and just zooming in on the essential.
After releasing their outstanding 17th album 'Abolition of The Royal Familia' earlier this year, The Orb are back with further guest appearances on their remix album 'Abolition Of The Royal Familia - Guillotine Mixes' (April 2021). Including mixes from David Harrow, Moody Boyz, Youth, Violeta Vicci, Andy Falconer and more.
Recorded between the summer of 2019 and early 2020 in LA with acclaimed producer John Congleton, Sunflower is “definitely a milestone,” Maroney admits. “I’d be lying to say I didn’t feel a little bit of that. And why not let yourself enjoy it?” It’s also a gut-punch of fuzzy power chords (“Sinkin”) and genteel acoustics (“Cinnamon”); deftly-composed pop songs (“Freeway”) and hard-charging rockers (“Rollercoaster”). “I put all of myself into it,” Maroney adds of the 10-track LP. In retrospect, he adds, “I definitely have this sense of calmness now. I did what I was capable of doing and I’m just glad I was around my friends and my people to help me get to this point.”
The Pink Stones deliver a full serving of Peach State picked country-rock from Athens, Georgia with the release of their debut album, Introducing… The Pink Stones, via the New West Records imprint Normaltown Records. Mixing elements of classic cosmic country, raucous rock’n’roll and fresh humor and heartaches, The Pink Stones are authoring a new chapter in the annals of Cosmic American Music.
Luke Bryan will be releasing the Deluxe Edition of his #1 album- Born Here Live Here Die Here on April 9th. It will include 6 NEW tracks in addition to the 10 tracks from the standard version of the album. The includes 3- #1 Country Songs- “Knockin’ Boots”, “What She Wants Tonight”, “One Margarita”, and the current Top 5 Smash- “Down To One”. Luke will begin his fourth year as a judge on ABC-TV - American Idol with the new season premiering on Sunday, February 14th.
The Reverend Peyton's Big Damn Band are the greatest front-porch blues band in the world. They are led by Reverend Peyton, who most consider to be the premier finger picker playing today. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy, country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David “Honeyboy” Edwards. The band has built through their legendary live shows. Playing as many as 300 shows each year, the band has one of the most dedicated followings out there. This following is sure to eat up the band's latest offering, Dance Songs For Hard Times, a country blues record that was made the right way — two feet on the ground and both hands getting dirty.
Limited 180gm vinyl LP pressing. Includes digital download. F. Scott Fitzgerald's The Great Gatsby was a work so filled with ambition, yearning, and inner contradictions that it came to represent the condition of a nation itself. Yet, at it's core, the slim novel tells a story about people and, more often than not, their inability to communicate and connect with one another ' forever running on parallel tracks until tragedy finally twines them together. The color green (often in the form of the faded sodium lit dock of Daisy Buchanan) comes to represent longing and unrequited love in an era (the Roaring Twenties) of decadence and spiritual vacuousness. Green is Gatsby's North Star, simultaneously pointing backward and forward through time toward some unattainable, impossibly balanced version of his own life. Nick Waterhouse, a century later but once again in the '20s, takes the color blue as his hue of choice on Promenade Blue. In Nick's musical and lyrical
ROADRUNNER: NEW LIGHT, NEW MACHINE is the new album from Brockhampton. The album features guest appearances by Danny Brown, A$AP Rocky, A$AP Ferg, Charlie Wilson, and JPEGMAFIA next to newcomers like Baird and fellow Corpus Christi rapper SoGone SoFlexy.
Following the commercial success of 2019's GINGER album, Brockhampton's lives were knocked off the tracks as the world shut down during the Covid pandemic. Over the following year, the members of the group found themselves further removed from each other than they had been since moving to Los Angeles together in 2016, each grappling with the weight of isolation, identity and unexpected personal loss. As fate would have it, the headwinds of 2020 served as a potent reminder of the strength of friendship. The new album's tone reflects the highs and lows of the period from which it was born -- both tragic and celebratory, built around the recurring theme of finding "the light" in your life. As such, ROADRUNNER: NEW LIGHT, NEW MACHINE is equal parts braggadocio and empathy -- the once young, wide-eyed boyband returns more self-aware and self-assured than ever before.
The creative process for ROADRUNNER also found the group opening its doors to a wider group of collaborators for the first time. The first track on the album, "BUZZCUT," features a show-stopping Danny Brown verse as well as vocals from in-house producer Jabari Manwa, who is stepping out as a vocalist and performer in 2021. The Brockhampton that emerges on ROADRUNNER: NEW LIGHT, NEW MACHINE is one working at the height of their powers and marks an important inflection point in the band's career.
Their self-titled debut album sounds less like a casual experiment than a band that has been playing together for years. With The Blips sharing lead vocals, guitar, and bass duties, this surprisingly cohesive and high energy album ranges from straight-forward garage rock to hit-and-run rockers to pop ballads with massive lead parts and gang vocals. They’ve even got a song called Wild Thing II. The Blips are Taylor Hollingsworth, Wes McDonald, Eric Wallace, and Chris McCauley.
What would it be like to be quarantined in Heaven? Jam City answers this question on his long awaited third album, inviting you to the beguiling world of Pillowland. Lounging spreadeagle between the bitcrushed psychedelia of Dream A Garden, and the bass-heavy, slow motion productions of the beloved Earthly mixtapes, come 10 scorched, carnivalesque hallucinations of Pop-Rock Fantasy that offer his strongest, wrongest work to date.
Vinyl LP pressing. Bill MacKay and Nathan Bowles' debut is well titled: keys are what they play and keys unlock things too. Their trad bonafides are balanced with inquisitive playing that adds surprise as a formal songwriting and arranging tool. Spirited 21st century folk music made of equal parts bluegrass, classical, country, gospel and improv.
Italian New Wave of True Heavy Metal Leaders MALAMORTE return with their Masterful Sixth album "Mass Cult Suicide"! MALAMORTE, led by Italian scene legend of Alessandro Nunziati, was born in 2009. Fans of Italian metal will recognize Alessandro's name; this is a man full of talent and dark creativity! He is a well-known musician, record producer and author, best known by the stage name Lord Vampyr (or L.V.). Internationally recognized from his bands Theatres des Vampires, Cain, Lord Vampyr, Nailed God, Shadowsreign, and many others, Alessandro has garnered a Huge global fan base, which has only expanded with the success of MALAMORTE! MALAMORTE's five prior albums, "The Fall of Babylon" (2014), "Devilish Illusions" (2016), "Satan Goes to Heaven to Destroy the Kingdom of God" (2017), "Hell for All" (2019) and the critically acclaimed, Radio break-through album "God Needs Evil" (2021) have catapulted the band to the forefront of the modern "New Wave of True Heavy Metal' movement! The band's sound, manifested within the mainstream Occult Rock / True Heavy Metal style, has been refined to perfection! Influences by Ghost, King Diamond, Judas Priest, Death SS, Iron Maiden and old Black Sabbath are clear, but crafted into a style uniquely MALAMORTE's through occult lyrics, extremely catchy rhythms and choruses, encompassing the epic feel of True Heavy Metal. Following closely after the 'surprise' break-through album of the year and Radio Chart toper "God Needs Evil", MALAMORTE returns with the Massive New Radio-Killer, "Mass Cult Suicide"! This is a concept album based on the infamous Jim Jones and his fanatical religious followers of the 'Peoples Temple Cult' and their fateful Jonestown commune in Guyana. Featuring the Radio Killers "Apocalyptic Visions", "The New Messiah" & "They Are Watching Us", "Mass Cult Suicide" is a solid, riff-driven hard rock / heavy metal masterpiece, heavy on the Synth which adds even more melody driven rhythm and 'pop'-catch appeal to this phenomenal album. With two fantastic releases out in the first few months of 2021, MALAMORTE is the new Metal Messiah !
3-CD/2-LP Super Deluxe Edition Includes A Newly Remastered Version Of The Classic Double Live Album With More Than An Hour Of Unreleased Live Music, Plus Unreleased Demos For “Fireflies” And “One More Night” On Bonus 7-Inch Vinyl
A loving tribute to Wilco from the November 2019 issue of Uncut magazine, this collection comprises 19 Wilco covers recorded by notable artists such as Courtney Barnett, Kurt Vile, Sharon Van Etten, Low, Cate Le Bon and Parquet Courts, including one previously released version of “Jesus, Etc.” by Norah Jones’ band Puss N Boots and one recently unearthed (but never released) cover of “Casino Queen” by Billy F Gibbons of ZZ Top fame. There is not a weak moment on this album and many outstanding ones. Sure to appeal to the rabid Wilco fan base, the CD which accompanied the magazine sold out quickly and is no longer available. The album also sold out on Record Store Day in September and is now being reissued in red vinyl.
Ohio alt-pop singer/songwriter Jetty Bones (Kelc Galluzzo) has released two new singles, “Taking Up Space” and “That’s All” in anticipation of her upcoming album ‘Push Back’. With a handful of independently released EPs and singles to her name, Jetty Bones has already racked up over 5 million streams across platforms and has toured with the likes of New Found Glory, The Wonder Years, Mayday Parade, The Maine, The Early November, Laura Stevenson, Mat Kerekes, and more. Galluzzo was most recently on a North American tour with Tiny Moving Parts in March when the COVID-19 pandemic hit, putting a temporary pause on plans for 2020.
TV Baby, the debut LP from Toronto power-pop act PONY, feels like it’s programmed from a different era. Driven by vocalist/guitarist Sam Bielanski’s sharp vocal tones and flashy, driving rhythm, the band combines cheeky 1980s style with 1990s self-reliance and modern production sheen for an experience caught between worlds. It’s hooky and vibrant, but don’t mistake exuberance for extroversion. TV Baby is an album dedicated to the indoor cats, the introverts, and those who value their independence above anything else. Bielanski, along with close friends Matty Morand (Pretty Matty) and Lucas Horne, have taken a piecemeal approach to worldbuilding here. They’ll take you to the band computer, where Sam’s frantically typing symptoms into a search bar into “WebMD,” where body horror meets sugar-rushed guitars. Next comes a thorny survey of the “Furniture,” fuzzy and scuff-marked, before letting you crash on the “Couch,” a pop-punk ode to discovering new parts of yourself while the world rolls past. When others are present in this internal monologue, like those hurt and driven to “Cry,” they’re greeted with the same maximalist pop-rock. In PONY’s gig economy, riffs beat out the rearview mirror. Saddle up alongside them and your joyride is guaranteed.
"Waiting For Good Luck" is the fifth full-length album from British hard rockers The Treatment. Showcasing an intense sonic power only hinted at thus far, The Treatment is truly firing on all cylinders now. A first listen will instantly reveal hulking riffs and memorable choruses and further listens reveal more and more as the listener delves into this love letter to hard rock. "Waiting for Good Luck" truly is a classic album in the making.
Produced by UK rock maestro Laurie Mansworth (Airrace) and mixed by Kevin Shirley (Iron Maiden, Led Zeppelin, Black Country Communion, etc.), "Waiting for Good Luck" is The Treatment's second album featuring Tom Rampton on vocals and the first one with the new bass player Andy Milburn. Rampton's raspy, whisky-soaked vocal style suits the band's driving, hard rock style perfectly and the results of him having toured with and gelled further with the band can really be heard distinctly here.
A magnificent slice of groove-laden, fist-pumping, unapologetic rock 'n roll anthems, which showcase a band hungry for more and showing no signs of slowing down, "Waiting For Good Luck" is the most realized offering yet from The Treatment.
"We honestly all believe this album is a huge step forward for The Treatment and we can't wait for you to hear it. We will be touring as soon as circumstances will allow us and we look forward to seeing all you Treatment troops at our shows next year," says the band.
The Treatment formed in 2008 in Cambridge, England. Their debut album, "This Might Hurt" was released in 2011 and followed by "Running With The Dogs" (2014), "Generation Me" (2016), and "Power Crazy" (2019). The band has toured with KISS, MÃ¶tley CrÃ¼e, Steel Panther, Thin Lizzy, and Alice Cooper, just to name a few, as well as appearing at massive rock festivals like Download and Sonisphere.
TV anime series “Neon Genesis EVANGELION” was first broadcast in 1995, taking the world by storm. The “Evangelion: New Theatrical Edition” film series started in 2007 with "EVANGELION: 1.0 YOU ARE (NOT) ALONE." followed by “EVANGELION: 2.0 YOU CAN (NOT) ADVANCE.” and “EVANGELION: 3.0 YOU CAN (NOT) REDO.” all becoming record hits at the box office. The TV anime and each of the feature films have since continued to garner new fans and are very lucky to be popular among various generations along the way, and the newest and feature film finale will be released in Japan on March 8, 2021
IIUII is a retrospective, but it’s just as much about the here and now. To re-record those songs with the maturity that Fin and his band members have achieved is about viewing the past through the lessons it has taught, not just remastering and repeating it. This was a chance to listen back through all the records, appreciate them for what they are, separate from the usual demands of which songs work on stage – and then give each song the treatment it deserves. With a solid fan base worldwide, Fin and his band have played the venues and festivals they want, and if not plain sailing, then certainly they've been in a space where they can operate with confidence, soaring with shoegaze layers one minute, back to purist blues basics the next. Fin has also participated in a sideline in co-writes on records by the likes of John Legend, a few soundtracks and the occasional excursion into dub or techno to keep things interesting.