At 21, mxmtoon stands tall as one of the brightest and most engaging voices of her generation. rising is the sophomore album from the Oakland-raised, Brooklyn-based artist known for her dreamy pop and introspective lyricism. The album is a new chapter and gorgeous evolution of the sound that launched her career 5 years ago but with a more mature and complex lens. Featuring the singles "mona lisa", "sad disco," and "victim of nostalgia", rising represents the culmination of a trilogy that also includes dawn and dusk, the dual EPs she released in 2020.
New England indie folk duo The Ballroom Thieves continue to write and share music at a feverish pace with their release of their upcoming album Clouds, the album encapsulates the duo's longing to return to touring, but also a reflection of it's difficulties (insomnia brought on by sleeping in different hotel rooms every night). Clouds gives listeners an intimate look into the band's recording process as most of the album's songs began with Martin Earley and Calin Peters writing together. And for the first time, the album features songs recorded live in the hope of bringing fans directly into the room.
Jeff Beck found a kindred spirit in Johnny Depp when the two met in 2016. They bonded quickly over cars and guitars and spent most of their time together trying to make each other laugh. At the same time, Beck's appreciation grew for Depp's serious songwriting skills and his ear for music. That talent and their chemistry convinced Beck they should make an album together.
Depp agreed and they started in 2019. Over the next three years, they recorded a mix of Depp originals along with a wide range of covers that touches on everything from Celtic and Motown, to the Beach Boys and Killing Joke. In 2020, during the pandemic, they previewed their collaboration with their well-timed cover of John Lennon's "Isolation."
The duo's 13-track album, dubbed 18, will arrive on July 15. Beck explains the album title: "When Johnny and I started playing together, it really ignited our youthful spirit and creativity. We would joke about how we felt 18 again, so that just became the album title too."
18 will be available on CD and digitally, with a 180-gram black vinyl version coming September 30th. The cover features an illustration of Beck and Depp as 18-year-olds that was drawn and designed by Beck's wife Sandra.
For the last 12 years Depp has recorded and toured with the Hollywood Vampires, a band he started with Alice Cooper and Joe Perry. The supergroup has released two studio albums that include guest appearances by some of rocks biggest names: Paul McCartney, Dave Grohl, and Joe Walsh. The list also includes Beck, who played guitar on "Welcome To Bushwackers," a song on Rise, the Vampires' second album, which came out in 2019.
Soon after, Depp asked Beck to play lead on a tune he'd written, the album's first single "This Is A Song For Miss Hedy Lamarr," an homage to the actress/inventor. Beck says it was the catalyst for the collaboration and is one of his favorite songs on the new album. "I was blown away by it," he says. "That song is one of the reasons I asked him to make an album with me."
Of Beck, Depp adds, ""It's an extraordinary honor to play and write music with Jeff, one of the true greats and someone I am now privileged enough to call my brother."
A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, Growing Up, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.’s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike. The Linda Lindas are stoked to unleash Growing Up.
The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie.
When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles. But they never expected or could have even dreamed that their performance of “Racist, Sexist Boy” for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows.
A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP. Having written a mountain of new material individually while sheltering in place and attending class virtually, the band was more than ready to enter the studio where Mila and Lucia’s dad (and Eloise’s uncle and Bela’s “uncle”) Carlos de la Garza oversaw recording and production. The Grammy-winning producer’s work includes Paramore, Bad Religion, Best Coast, and Bleached.
Two decades into delivering social commentary via their blistering brand of punk rock, Rise Against's most recent album Nowhere Generation may in fact be their most poignant, as it sums up the struggles, injustices, and collective action of a whole generation. Their most recent single Last Man Standing is smooth in its most sensitive moments and roaring like a tempest at its peak. Brimming with punk rock spirit, it begs that we answer who and what is left if we continue on the current path.
Formed in the imagination of a 7-year-old beabadoobee and carried with her ever since Beatopia is a fantastical yet deeply personal world that houses her most impressive work to date. Marking a huge progression, in 14 songs she traverses fuzzy rock, classic singer/songwriter, psychedelia, Midwest emo, and outright pop whilst remaining undeniably herself throughout. Indie Exclusive Green LP with fold-out poster.
Coming July 15th: the first album from Interpol in four years, The Other Side of Make-Believe. If fate didn't quite ordain the circumstances for Interpol's seventh album, it was at least fortunate that the band had happily concluded their Marauder cycle on stage in front of 30 thousand-odd Peruvian fans. Rather than be sent scrambling like so many other musicians on tour or promoting new music, when lockdown clamped in March 2020, Interpol quickly got into a productive mood.
Coming from a group whose early work was characterized by Polish knife-wielders and incarcerated serial killers, you might expect Interpol's pandemic record to be an emotional tar pit - doubly so, given the presence of towering producer-engineer duo Flood and Moulder (Nine Inch Nails, Gary Numan, Depeche Mode) on the boards. But Banks felt the call to push in a "counterbalancing" direction, with paeans to mental resilience and the quiet power of going easy. "The nobility of the human spirit is to recover and rebound," he says. "Yeah, I could focus on how fucked everything is, but I feel now is the time when being hopeful is necessary, and a still-believable emotion within what makes Interpol Interpol."
GRAMMY-nominated singer/songwriter and multi-instrumentalist, Alexander 23’s debut album AFTERSHOCK will release on July 15, 2022, via Interscope Records. Produced by Alexander 23 and GRAMMY-winning producer, Dan Nigro (Olivia Rodrigo), the album will feature 11 tracks, including “Hate Me If It Helps” which was co-written with Olivia Rodrigo plus the standouts “Crash,” “The Hardest Part” and more! Indie Exclusive Lemon LP.
On her anxiously awaited fifth full-length album, emails i can’t send, Sabrina Carpenter showcases ultra-personal songwriting and passionate, palpable performances. With “skinny dipping,” “Fast Times” and her latest release “Vicious,” a nineties pop-rock songcraft with an intoxicating dose of 21st century feels, Carpenter offers her most vulnerable work to date.
The Kut is a British rock multi-instrumentalist. She is a Double Award Winner in the UK Songwriting Contest (Feb '22) and Winner of the International Songwriting Rock Award (Mar '22). New releases 'ANIMO' and 'Satellite' have had over 3000 recent airplays including on Kerrang!, BBC Radio London, BBC Radio Wales, BBC Introducing Lancs, Planet Rock, Total Rock, Hard Rock Hell, Amazing Radio and independent FM stations worldwide. Airplay in the US spans 20+ states - including airplay at 91X, San Diego, The New Music Foodtruck, WVUR, Chicago, WOOL, Burlington, WCSF, Chicago, KXT, Dallas, KXUA, Fayetteville, KFCF, Fresno, KXFM, Laguna Beach, WVZA, Marion, KBRE, Merced, KFAI, Minneapolis, KZMU, Moab, WODU, Norfolk, WRKC, Philadelphia, Radio Phoenix, KMUD, Redway, KAMP, Tucson, WQRR, Tuscaloosa, WERA, Washington, KPCA, California, KUPR, New Mexico, WDWN, New York, WNIA, North Carolina and WVUR, Virginia. Both singles charted in the UK Official Charts. 'ANIMO' Charted at No.8 Physical, No.35 Sales and No.76 in the Downloads Chart. It also charted in the USA Submodern Singles (Airplay) Top 100 Chart at #87 and Charted at #12 in the NMD NACC Top Singles 'Heatseeker'. 'SATELLITE' charted at No.22 in the UK Single Sales Chart, No. 22 in the Downloads Chart and No.13 Physical Singles. In the US the single joined the US NACC MMD Top Singles Chart at No.10 (Feb '22). The making and release of the latest video singles and the recording of forthcoming second album 'GRIT' are funded by Arts Council England. The album features both recent singles and 8 other fresh kuts, recorded by all seven members of The Kut collective. Produced by James LeRock Loughrey the album sees The Kut feature as vocalist/guitarist alongside the collective, as well as moonlighting drummer and bassist on two tracks. The Kut is a recent Headliner at Isle of Wight Festival (Sept '21). She's toured in eight countries to date. Her most recent tour was with Music Venue Trust to #ReviveLive music in the UK post-pandemic (Jan/Mar '22). Also featured on the tour were Kojey Radical, Bastille, Del Amitri, Enter Shikari, Feeder, Becky Hill. The Kut debut album 'Valley of Thorns' released in 2018 and charted at No.7 in the UK Rock Albums Chart and No.18 in the Official Independent Albums Chart via independent label, Criminal Records.
He is one of the greatest entertainers of all time. Now, Michael Jackson’s unique and unparalleled artistry has finally come to Broadway in a brand-new musical. Centered around the making of his 1992 Dangerous World Tour and created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage, MJ goes beyond the singular moves and signature sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Jackson into legendary status. The Original Broadway Cast Recording features all of your favorite songs from the Broadway production, including “Beat It,” “Billie Jean,” “Bad” and “Smooth Criminal.”
The girl group that has it all is back with a brand-new release! ITZY’s new album, CHECKMATE will be available in 5 versions for each member: YEJI, LIA, RYUJIN, CHAERYEONG & YUNA. The contents of the album include a CD, Photobook, Photo Card (random 2 of 25), Mini Folding Poster (random 1 of 5), Lyric Paper and Sticker. North American Retail Exclusives include Postcard (random 1 of 2), Special Card (random 1 of 5) and Poster (random 1 of 3). Box Dimensions: 210 x 297 x 6 mm.
After nearly three years and sixty demos, Launder's full-length debut is Happening. In 2019, Orange County-raised, Los Angeles-based musician John Cudlip signed to Ghostly International to build his recording project, developed out of casual sessions with friends Jackson Phillips (Day Wave), Soko, and Zachary Cole Smith (DIIV). Launder's music had seen unexpected attention, with Stereogum placing it "somewhere at the intersection of '90s lo-fi and shoegaze," and Gorilla vs. Bear noting Cudlip's "serious knack for the kind of wistful, soaring choruses that immediately make you feel like you've known these songs forever." With live shows paused in 2020, he immersed fully into writing and arranging an overflow of ideas. Cudlip also embraced sobriety, redirecting his once-destructive addictive tendencies into studio craft — all his thoughts consumed by melody and texture, all his resources lobbed into gear, every buzz, hiss, and hum of this record became his entire world. The resulting set sprawls across a double LP release; it's a considered beast of a debut and he's proud of it, living with it, finally. Through its thirteen songs, Happening is timeless, grappling with something bigger than just melody, the cathartic and the tender, indebted to indie rock greats while informed by modern and prudent self-reflection.
Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth.
In the late 90’s and early aughts, internet video capabilities like Real Video and Quicktime were expanding, proving the early prophecy that ‘anyone would be able to have their own television channel on the internet’ was indeed coming true. After the critical success of Mulholland Drive, director David Lynch doubled down on the medium, funneling virtu-ally all of his time into personally animating, filming, and scoring content for his own internet destination: davidlynch.com. It was fertile and limitless ground for a creative like Lynch, allowing him to return to the days of his experimental film roots, where it was actually possible for him to have his hands on every element of the process.
It was out of this newfound digital freedom that the early seeds of Inland Empire were born, evolving and fissuring from an internet-bound experiment itself, into something much more expansive. The film collated a variety of ideas and working methods that the recent web paradigm had nurtured in Lynch, one of which was an increased frequency of his own solo music productions. Having finished constructing his own personal recording studio in 1998, he was no longer tethered to the scheduling and high premiums of rented studio time and was free to accelerate his musical experimentation without constraint. As a direct result of this was a unique shift in Lynch’s musical trajectory; a shift that would eventually bear multiple albums and a short film featuring a lounge-crooning monkey. In the first weeks of 2005, Lynch would record a blues instrumental and instead of getting someone else to sing on the song, he would sing, via a formant and pitch-altering piece of equipment known as the Boss VT-1. It was because of the davidlynch.com animated series Dumbland that the director had discovered the device that would enable him to be ‘any character he needed.’ With Ghost of Love, Lynch was experimenting with bringing those ‘characters’ into his own musical compositions. In true Lynch fashion, it’s difficult to know which inspired which: did Ghost of Love birth a scene in Inland Empire, or did the film’s ideas birth the song? Just as In Heaven had served to encapsulate Eraserhead, Ghost of Love managed to encapsulate Inland Empire allowing its listener to close their eyes and immediately channel the film’s images and mood onto the screen of the mind.
Ghost of Love is backed with Imaginary Girl, originally released via CD single in 2006 are now finally seeing their vinyl and digital release for the first time in celebration of Inland Empire’s 2022 theatrical re-release. Both are signature cinematic Lynchian classics that feature Lynch on guitar and vocals, accompanied by his long-time collaborator and Sacred Bones staple Dean Hurleyon bass.
The film is an adaption based on the original Comic Series “My Hero Academia”, which sold over 50 Million copies worldwide. My Hero Academia: World Heroes’ Mission is the third movie, following My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising and is scheduled to be released in Japanese theaters on August 6 and features the same cast and staff from the previous films and TV anime series'.
About the composer Yuki Hayashi:
Yuki Hayashi was born in Kyoto in 1980. Being an active member in a men's rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.
Cabaret Voltaire co-founder Stephen Mallinder’s second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and “wonky disco” into a riveting rhythm suite ripe for our age of escalation: tick tick tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at MemeTune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond “cowbell on every track, and entirely no reverb.”
From the first coiled cybernetic groove of opener “Contact,” the album’s spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, “rhythm is the default, the bedrock, the building block –even the melodies are rhythmic.” Across 40-plus years of electronic musicianship, Mallinder’s sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial (“ringdropp,” “Shock to the Body”) crossfade into no wavy punk-funk (“Guernica Gallery,” “Galaxy,” “The Trial”), bad trip IDM (“Wasteland”), and jittery vapor house (“Hush”), at the threshold of modes both familiar and foreign.
Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder’s main muse: “Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation.” This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: “I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together.”
All new music from the KIDZ BOP Kids is here! ‘KIDZ BOP Super POP!’ is packed with today’s biggest hits, sung by kids for kids. Featuring all the songs that kids love and parents can feel good about, the album of the summer includes “abc,” “Meet Me At Our Spot,” “Cold Heart,” “We Don’t Talk About Bruno,” “Bam Bam” and more. Play ‘KIDZ BOP Super POP!’ to make ANY time PARTY time.
Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. “The idea of looking back to go forward became a really big thing for me—hence the title, Slingshot."
Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths.
Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. “I think I made a really big deal to not pigeonhole myself,” he explains. “Whatever is inspiring me at one point will work it’s way into whatever I’m creating.” Slingshot is an amalgamation of Haywood-Smith’s many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and per-formed a bulk of the track’s instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on “Just Say-in”) and Mckinley Dixon (on “Shine.”) The album’s penultimate track, “Thank You,” was co-produced with Jacob Portraitof Unknown Mortal Orchestra. The song brings JayWood’s sound full circle, offering some-thing reminiscent of Haywood-Smith’s earliest recordings, while flaunting that “The best is yet to come.”
Many artists are defined by place, but only a handful of artists come to define the places they’re from. The Local Honeys are Kentucky and Kentucky runs through their veins like an unbridled racehorse. When a master songsmith like Tom T. Hall calls an artist “a great credit to a wonderful Kentucky tradition” it’s time to pull up a chair and pay attention. As it pertains to The Local Honeys he was right on the money. For almost a decade the duo (Linda Jean Stokley and Montana Hobbs) have been an integral part of the Kentucky musicscape. They’ve paid their dues, garnering countless accolades and accomplishments (tours with Tyler Childers, Colter Wall, praise from the New York Times) and have become the defining sound of real deal, honest-to-God Kentucky music.
With their self-titled debut on La Honda Records (home of some of today’s most gifted songwriters, including Colter Wall, Riddy Arman, Vincent Neil Emerson), the duo have set forth on a journey to create something true to themselves while pushing the envelope within the traditions they hold dear. Carefully crafted vignettes of rural Kentucky soar above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, Grammy nominated producer and musician (Assistant Director at the Kentucky Center for Traditional Music at Morehead State). “Jesse grew up with sisters. He was cut from the same cloth as us and we knew he would understand what we wanted to do.” What they ended up with is the most nuanced, moody, deep-holler sound they have captured to date. “This is the first time we’ve actively gotten to express who we are and where we’re from,” says Linda Jean. “The songs on the album speak for us,” adds Montana, “they’re about what we know, reflections of us as people. We realized we have the power to add our own narrative into Kentucky music.” Through that realization the two were able to uncover and dissect themes unique to Central Appalachia and in turn their own lives, capturing small moments in time that deliver thunderous results.
Throughout ‘The Local Honeys’, the duo demand to be interpreted as creators and storytellers, not just purveyors of tradition. Similarly, the sounds captured within the project cement their place as innovators and rule breakers. Rollicking banjo meets overdriven guitar hooks and blue collar rural grit is met with lush melodies and nimble harmonies; it’s a project filled with juxtaposition and it isn’t by accident. It’s reflective of who they are and who they run with. Wells along with the rest of Tyler Childers’ band The Food Stamps - Rod Elkins (percussion) Craig Burletic (bass) - and Josh Nolan (guitar) from Clay City, KY all lent their expertise and signature groove as collaborators during the session, creating a fluidity, warmth and cohesion that can only be shaped through friendship. "We didn't want to record any other way then with the people we love and cherish as much as the songs. It was integral to our process,” says Linda. The project was engineered in Louisville at Lalaland by Grammy winner Anne Gauthier.
The songs on ‘The Local Honeys’ speak to a new generation, a new Appalachia, the people who understand the beauty, the struggle and the complexity of contemporary Appalachian life. They come from a long line of storytellers, a lineage of strong Kentucky women who aren’t afraid to tell it like it is and their self-titled La Honda debut is proof it’s in their bones. The duo have mastered the art of telling a good story. The narratives and landscapes they weave into song, the deep understanding and love they share for old time traditions, their undeniable charisma and charm, and their blatant disregard to follow the rules make it clear the duo is poised to become not only the defining voices of their home state of Kentucky but the defining voices of a new Appalachia.
Artificial Countrysides is Athens, Ga ' based Elf Power's 14th album and first for Yep Roc Records. The band expand their sound on this record to glorious effect, adding marimba, harpsichord, synth bass, distorted drum machine loops, and mellotron to their time tested mix of fuzz guitars, moog keyboards, pummeling drums, and layered acoustic guitars, achieving a satisfying and unique synthesis of traditional and futuristic sounds. Lyrically the album mirrors this approach by discussing the difficulties and advantages of dealing with modern life's digital and artificial landscape, balanced with the natural world. Elf Power formed in Athens, GA in 1994 and have released 14 albums, two eps, and a handful of singles, while touring North America, Europe, and Japan many times playing alongside acts like R.E.M., Flaming Lips, Dinosaur Jr., Neutral Milk Hotel, Guided by Voices, Arcade Fire and many more. Albums such as 1998's Dave Fridmann-produced "A Dream In Sound" and 2008's collaboration with the late folk rock icon Vic Chesnutt, "Dark Developments", have cemented the bands' reputation as the finest purveyors of modern melodic psychedelic folk rock around. The band became known as a member of the much heralded Elephant 6 Collective, which includes their friends and collaborators Neutral Milk Hotel, Apples in Stereo, Olivia Tremor Control, Of Montreal, and many more. Undigested Parts Clean Clothes Artificial Countrysides The Gas Inside the Tank Soft Trash Filming The Sequel Before All the Actors Die Metal House Floods Did It Really Exist? Dark Rays Pouring Hot Water on the Anthills Constantly Touching
“The Ceiling Could Collapse” centers on the cycles of life and how we find meaning in those extremes: pain, joy, wonder, and love. On her piercing and profound new EP, Bobbit picks through the dizzying rubble of indie rock and folk moments of resonant emotion and frames them in heartbreaking lyrics and openhearted expanses. The Ceiling Could Collapse EP denotes themes of duality, as well as feelings of chaos and comfort found within the unknown.
lynyn’s debut LP is essential listening for anyone interested in the compositional heights of electronic, synth, and modular music. It is a project at home with the likes of giants in the genre like Aphex Twin or Squarepusher.
So, who is lynyn? Lynyn is the moniker of Chicago artist Conor Mackey, a working symphonic composer who has scored for institutions including the Illinois Philharmonic Orchestra and Brain.fm (the neuroscience driven musical platform where he is currently lead composer on staff). He is also a guitarist / composer in the Chicago jazz fusion quintet Monobody. After years of quietly mastering the creation of electronic music in his home, Mackey first introduced his electronic alias lynyn as producer of NNAMDÏ’s Are You Happy EP in the Fall of2021 (Pitchfork described his production on that project as “a novel intersection of IDM” and contemporary pop). lynyn now offers up his debut electronic oeuvre lexicon via Chicago label Sooper Records.
Lexicon displays a mastery of both musical composition and sound design, as well as a deep appreciation of the vocabulary and history of the electronic genre—with particular emphasis on the 90s IDM movement. Throughout lexicon we are propelled through the sounds of musique concrete, footwork, hip-hop, ambience, glitch-core, IDM, drum and bass, dub, break beats, and so much more. These influences work in tandem to produce a linear experience that can be spellbinding, euphoric, and sometimes destabilizing, but without ever feeling listless or wandering. The dense arrangements of lexicon are intentionally constructed with a painstaking attention to the most minute detail, and also with a masterful awareness of the macroscopic sound design profile of the entire work. Synth sequences and modular tones merge with sounds that seem wholly organic to create a series of purposeful movements from start to finish. Mackey is particularly adept at taking disparate, often difficult to control elements and introducing them harmoniously. He is a fastidious architect and designer of sound tinkering away in his modular laboratory.
Lexicon is an innovative entrant into the history of IDM and electronica with all the makings of an essential contribution. What Mackey accomplishes with lexicon is a progression; he’s taking the sum articulation of a genre and attempting to carry it forward by imbuing it with his own unique language as a symphonic composer. His melting together of genres and techniques is a gateway into amore wide-ranging expression of the artform, particularly with respect to the sophistication of composition. The result is arguably a landmark. While rightfully positioning the lynyn moniker as an electronic alias, lexicon leaves no doubt that Mackey is a composer above all else.
Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, and released by Third Man Records.
As lockdown approached in 2020, Chicago-based singer Lili Trifilio was wrapping up a tour in support of Beach Bunny's debut album, Honeymoon. Suddenly, she found herself back at her parents' house, coping with her new reality. To deal, she retreated into sci-fi stories and her always-active imagination. She envisioned new places to travel in her mind, thus dreaming up big, bombastic pop sounds to construct Beach Bunny's highly anticipated sophomore album, Emotional Creature. Simultaneously about personal growth, Emotional Creature is a collection of highly relatable songs that capture the highs and lows of new relationships, the joys and vulnerabilities of letting someone in, the gut-wrenching realities of experiencing anxiety, leaving toxic relationships, and seeing yourself through the eyes of the one you love. These complex feelings are expertly contrasted with ultra-poppy melodies, anthemic choruses, and a slight punk edge. 'The songs have grown with me over time,' Trifilio explains. 'Some of them were written in various stages of life, and I think as we go through different experiences and hardships, you come out stronger. I've grown as a person, so the songwriting reflects that.' With its openhearted, vulnerable themes and progressive, hook-filled take on pop rock and pop punk, Emotional Creature only further cements Beach Bunny and Trifilio's well-earned reputation as a leading voice of their generation.
Bob Marley with the Chineke! Orchestra reimagines some of Bob Marley’s most recognized and listened to songs with contemporary classical orchestration. The Chineke! Orchestra provides opportunities to a diverse range of up-and-coming and internationally respected classical musicians.
How to Grow a Sunflower Underwater is the follow-up to Alex The Astronaut's ARIA Music Award-nominated debut The Theory Of Absolutely Nothing. An unforgettably original lyricist, the music of Australian singer/songwriter Alex the Astronaut cycles through a series of radiantly detailed slices of life.
ODESZA return after four years with their new album "The Last Goodbye" available on crystal clear LP, indie exclusive version crystal clear LP with limited edition print, standard CD, deluxe CD with a patch and stickers, and transparent green cassette. Symphonic, vast, and emotionally stirring, 'The Last Goodbye' is set to be the GRAMMY-nominated duo's most ambitious album to date. A project rife with brightness and emotion, nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection, reminiscence and the impact we impart on one another. It's a vivid celebration of the people and moments that have left fingerprints on our existence, echoing throughout the record. "The Last Goodbye" features collaborations with Låpsley, Ólafur Arnalds, Julianna Barwick, The Knocks, Bettye LaVette, Izzy Bizu, MARO, and Charlie Houston. With over 5 billion total streams, ODESZA have masterfully reemerged to remind the world what has made the duo of Harrison Mills and Clayton Knight cornerstones of the modern electronic landscape. Their last album 'A Moment Apart' was not only a commercial success (going gold and debuting at no. 3 on the Billboard 200), but it also earned critical acclaim including two GRAMMY nominations and praise from the likes of NPR, Rolling Stone, Billboard, Complex, Consequence and more. The duo has cultivated a diehard fanbase of massive proportions: known for their groundbreaking, awe-inspiring and immersive live performance, that reached 2.85m+ fans over the course of their 'A Moment Apart' tour. They also have had headline performances at the likes of Coachella, Lollapalooza, Bumbershoot & more, as well as performed on Jimmy Kimmel Live! and Conan, and launched their own music festival SUNDARA in Riviera Maya, Mexico in 2019.
She & Him’s seventh studio album is a loving, LP-length tribute to one of the greatest living American songwriters and singers, Brian Wilson. Melt Away - A Tribute to Brian Wilson finds Zooey Deschanel and M. Ward diving deep into the legendary artist’s extensive songbook, offering fascinating and delectable new spins on time-honored classics and overlooked gems alike. These fourteen covers are infused with the familiar magic that She & Him fans know and love, offering a new window into Wilson’s iconic catalog.
Tossing down straight acoustic shots with electric guitar back, Ty Segall rides through the valley of thee ol' Canyon legends, seeking an isolated place beneath the open sky to loose his herd of wild nerves Alone at last, naturally? Nope - there's a rider on the horizon, cross-hairs trained on his very own heart. Tremulating in fear and loathing upon the precipice of everyday, so that we don't think we don't have to, Ty guides ten songs of love through internal crevasses and past darkened cavities, as harmony vocals swarm above the treacherous, yet reverberant arroyos. Whatever doesn't get killed is getting stronger all the time. Its light rock made heavy through thought and intention, "Hello, Hi" is a lean, mean deal, baked in saltwater and sunlight, compassion pouring forth from beautiful blue eyes.
Vinyl LP pressing. 2022 release. Produced by Nas' longtime collaborator Hit-Boy, Nas shares Magic, the transcendent 9 track album including Wave Gods ft. A$AP Rocky and DJ Premier. Magic follows the August 2021 release of Grammy nominated album, King's Disease II.
Riderless Horse is my first solo record, and it’s the first record my former partner, Kennan Gudjonsson, didn’t produce.
I haven’t made an album since 2010. I decided to stop pursuing music several years after my sixth record, Outlaster, because of unhappiness, overwhelming chaos, mental illness, and my tragically dysfunctional relationship with Kennan. Creating music had always been a positive outlet during difficult times, but eventually it became a source of absolute misery.
Riderless Horse documents the grief, but it also marks moments of empowerment and a real happiness in discovering my own capability. Steve Albini produced this record with me, and Greg Norman assisted. It was exactly the right environment to work on this record. We all had meals together, cried, laughed, and told stories. It was perfect. It made me realize how much I love writing, playing and recording music.
Terrible things happen. These were some terrible things. So, what to do – learn something valuable, connect with people, move the fuck out of that apartment, remember the humor, find the humor, tell the truth, and make a record. I made a record.
John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.”
Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5.
The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.”
That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says.
Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.”
On Birds in the Ceiling, Moreland’s singing contributes to the feelings of hushed intimacy. Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playing in bars, fighting to be heard over chattering crowds. “When I first started singing, I was very self-conscious about it,” he says. “I think I tried to affect my voice more. Singing loud could be a security blanket sometimes. On the new album, on a lot of the songs I was definitely making a conscious effort to sing quieter––almost whisper.”
Produced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refuses to stay in its lane. It’s the second album for Pence with Moreland, who sees the former––a Denton, Texas-based engineer, producer, and drummer––as an ideal musical partner. “We have a lot of the same influences, and I have been really influenced by his bands,” Moreland says. “It feels really effortless.”
Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”
Birds in the Ceiling is available at local record stores on CD, Vinyl, and an Indie-Exclusive Blue Vinyl on July 22.
Neophobia is a meditative saga which, despite the name, radically embraces the aesthetics and methods of post-modernity. In between identical gamelan pieces, Chalk weaves an abrasive collage of sounds and musics that touch on peace punk, musique concrète, & American primitive. Neophobia explores the schizophrenia and horror of living in the contemporary era, and odyssey with an indeterminate point of departure or return.
Chalk is an amorphous musical project orchestrated by Barry Elkaninck (Institute, Blue Dolphin). While this is Barry’s “solo project” he regularly invites friends, other musicians and artists to accompany him. Under “Chalk” Barry has self-released 8 cassettes since 2015. While wildly ranging in recording techniques & approach, the cassettes have informed and culminated in the final sound present onNeophobia which is his first LP for Post Present Medium. Barry wrote and recorded Neophobiaindependently out of his home in Houston, TX on computers and tape machines.
Canadian cult songwriter Sean Nicholas Savage is renowned for his bitter sweet ballads, and beautifully raw live performances, his singing delicate and brave, full of energy and space. Each new record is an adventure in sensitivity and nuance.
Shine is a record about recapturing the will to live after a period of sadness and stagnancy, and the return to positivity and hope wrapped up in music that adds a sense of rhythmic guitar-based folk intimacy to Savage’s hallmark ebullient avant-pop.
Fantasy Gateway opens a new chapter for Cuco over the course of 12 songs which includes new single “Caution.” The sophomore album also contains features from Kacey Musgraves, Adriel Favela, DannyLux and Bratty.
Pool Kids are energy. Raw, sporadic, and indisputably authentic, the four piece's latest self-titled album fuses math-rock familiarities with a wave of indie rock angst. Recorded in Seattle by Mike Davis, 'Pool Kids' is the first studio album to include the full band. The record explores regeneration from trauma, heartbreak, and culture. Vocalist Christine Goodwyne reaches into the depths of shared existence, unifying a genre-less fanbase and shattering the wall between performer and listener.
Nation of Heat | Revisited - After more than a decade of playing these songs in clubs across the US, putting one foot in front of the other, gaining a much greater musical education, they are recorded now as he had always wished they could have been. "Nation Of Heat" is now revisited with full production, featuring performances from Brandon Flowers of the Killers, Derry Deborja of Isbell's 400 Unit, Carl Broemel of My Morning Jacket, and Courtney Hartman. "The songs on this EP are familiar to me, and other people like me, who have been Joe Pug fans from the very beginning. We have heard them over and over in our heads and in our hearts as we went about our lives for the dozen years that have passed since the original, solo acoustic version of NATION OF HEAT was released. I, for one, welcome this new more fully realized version of these songs because now, I have an excuse to turn them up and listen out loud again." Steve Earle NYC 12/21
“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous, sonic tableaux that places the listener right in the center of the film.
While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.
They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.
Double vinyl LP pressing. We're All Alone in This Together is the second studio album by British rapper Dave, originally released in 2021. Psychodrama, released in 2019, and includes guest appearances from Stormzy, James Blake, Wizkid, Snoh Aalegra, Boj, Fredo, Ghetts, Giggs and Meekz. We're All Alone in This Together was executive produced by Kyle Evans and Dave himself, with additional production from James Blake and Joe Reeves.
SINCERELY, KENTRELL serves as a testament to YoungBoy’s remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart and soul over 21 featureless tracks. The album sees YoungBoy joined in the studio by a number of longtime collaborators and rising new producers, including Dubba-AA, Mike Laury, TnTXD & Dmac, Smashdavid (Big Sean, Chris Brown, Khalid, Bad Bunny), MikeWillMadeIt (Kendrick Lamar, Rae Sremmurd, Eminem, Beyonce), and TayTayMadeIt (Roddy Ricch, Swae Lee, Jack Harlow).
Coi Leray’s debut album TRENDSETTER comes armed with her latest single, “Blick Blick,” featuring Nicki Minaj. The project features a handful of Coi’s hits, including “TWINNEM,” “Anxiety,” “No More Parties (Remix)” with Lil Durk, and the RIAA gold-certified “BIG PURR (Prrdd)” with Pooh Shiesty. A debut project like TRENDSETTER is rare; Coi Leray has curated an experience for her listeners, having penned the bulk of the songs and putting her all into her formal arrival.
Coming off his latest singles Stay Down (feat. Yung Bleu) and Don’t Love Me, Ne-Yo returns with his highly anticipated eighth studio album, Self Explanatory, which also includes features from Jeremih, Trippie Redd and more. Infused with his classic R&B sound, Ne-Yo says that the record will “pull on some heartstrings, give you a reason to dance, [and] give you some music to clean the house on Sunday.” Out now via Motown Records.
Hot off the success of Face the Sun, SEVENTEEN is back with their 4th Album Repackage SECTOR 17. This album comes with added new tracks and available in 2 versions: NEW HEIGHTS & NEW BEGINNING. Contents include enveloped CD, Photobook (88 pgs), Lyric Book (12 pgs), Film Card (random 1 of 13), Photo Card (random 2 of 26) & Sticker (random 1 of 13). Limited first-press runs include Team SVT Card & Poster. Retail Exclusive: Folding Card (random 1 of 13). Dimensions: 152 x 152 x 15.5 mm.
For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” and the project debuting atop both the Country and Americana album charts, the band celebrated mainstream success a decade in the making.
Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes.
“It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll.
“We’re going to bend [genre] even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.”
Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).
Fans will have the chance to hear the new music live on the 40-date Tornillo Tour, launching April 29 in Worcester, Mass. and running through August. Tickets to all headlining dates are on sale to the general public Thursday, Feb, 23 at 10 a.m. local time via WhiskeyMyers.com.
Look for Whiskey Myers' music at your local record store, and pick up a copy of Tornillo on 'Iridescent Copper' color vinyl - only available at independent record stores.
For more information, follow Whiskey Myers on social media @WhiskeyMyers
The fifth studio project from the Tedeschi Trucks band, is the most ambitious and, at the same time, intimate record that America's best rock'n'roll big band has ever made: a genuinely epic undertaking in four episodes and 24 songs inspired by classical literature but emotionally driven by the immediate drama, isolation and mourning of the pandemic era.
GRAMMY® Award- nominated artist/producer/songwriter Maggie Rogers new album, Surrender, will be released via Capitol Records on July 29. Co-produced Kid Harpoon (Florence + the Machine, Harry Styles) and Rogers, Surrender is the follow-up to Heard It in a Past Life,Rogers’ massively beloved 2019 debut album, which entered Billboard’s Top Album Sales chart at No. 1 and debuted at No. 2 on the Billboard 200. Praised by the likes of NPR, The New York Times, Rolling Stone, Pitchfork, TIME Magazine, and many others, Heard It in a Past Life landed Rogers a nomination for Best New Artist and went on to amass over one billion combined global streams.
Formed in 2012 out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought about what a band that makes heavy music should look and sound like. A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical - this album comes with a clear vision and aesthetic: drawing from members’ different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post punk culture. Their upcoming second album ‘They Fear Us’ is the sound of a band healing from trauma - standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they’ve ever had before. To quote the band - ‘those who oppose us; your sins will catch up to you. You will fear us’.
ELVIS – Original Motion Picture Soundtrack is the music companion to the Warner Bros. Pictures biopic film ELVIS, from Baz Lurhmann. This critically acclaimed film stars Austin Butler as Elvis Presley and Tom Hanks as his enigmatic manager, Colonel Tom Parker. The soundtrack features a sampling of original songs from Elvis’s extraordinary body of work from the 1950’s, 60’s and 70’s, and new recordings celebrating his diverse musical influence and enduring impact on popular artists of today.
The 22 track compact disc version of ELVIS includes plenty of A-list names across the musical spectrum. Starting with Elvis himself, additional artists included here are Doja Cat, Nardo Wick, Jack White, Chris Isaak, Eminem, Swae Lee, Diplo, Kacey Musgraves, Jazmine Sullivan, Tame Impala, Stevie Nicks, and many others.
Boxset including 3 different album covers, 1 folded lyrics poster, 1 folded group poster, 1 photobook, 1 sticker set, 1 ID card (1 of 8 randomly packed inside), 1 member photocard (1 of 16 randomly packed inside), 1 additional member photocard - U.S. exclusive (1 of 8 randomly packed inside). Global sensation ATEEZ is back to begin a new journey with the first album in a new series, [THE WORLD EP.1 : MOVEMENT]. Praised for high-octane performances and bold musical stylings, ATEEZ sold 1.86 million albums in 2021 to firmly plant their name on the charts. ATEEZ also went on their first arena world tour "THE FELLOWSHIP : BEGINNING OF THE END" in 2022, meeting 150,000 fans from their kick off in Seoul, followed by five American cities and finishing with dates in five European countries. ATEEZ made history by being the first K-pop act to start a European arena tour after the pandemic. Having just wrapped up their search for precious [TREASURE], and a feverish journey in [ZERO : FEVER], ATEEZ unveils a powerful new concept in their next release [THE WORLD EP.1 : MOVEMENT] calling for change in our conformist reality.
Released in 2013, Regions of Light and Sound of God was the debut solo album from Jim James of My Morning Jacket. This deluxe reissue features the original album plus a second LP of twelve b-sides,demos and alternate versions including “State of The Art (Demo)” and the previously unheard ballad “Begin Again”. The 2xLP is housed in a rainbow foil tip-on gatefold jacket with revised artwork, a fold-out insert and is pressed on clear/purple blob vinyl.
Earthling, the third studio album from Eddie Vedder, features the singles “Long Way,” “The Haves,” and “Brother The Cloud.” In addition, the album features collaborations with music legends including Stevie Wonder, Ringo Starr, Elton John, Chad Smith, Andrew Watt, and Josh Klinghoffer. Available from Seattle Surf/Republic Records. Indie Exclusive translucent blue/black marble vinyl in a gatefold jacket with lyric booklet.
The Heavy Heavy are led by lifelong musicians Will Turner and Georgie Fuller. The Brighton, UK-based band create the kind of unfettered rock-and-roll that warps time and space, sitting at the reverb-drenched collision of psychedelia and blues, acid rock and sunshine pop. As revealed on their gloriously hazy - and soon to be legendary - debut EP Life and Life Only, they breathe a wild new energy into sounds from decades ago, transcending eras with a hypnotic ease.
GRAMMY and Americana Award-winning singer/songwriter and violinist, Amanda Shires, has pushed the reset button with Take It Like a Man, a record that is so unlike anything she has ever recorded that you would be tempted to think it was her debut album instead of her seventh. Shires, who also plays in The Highwomen, worked with producer Lawrence Rothman to make a fearless confessional, showing the world what turning 40 looks like in 10 emotionally raw tracks. Indie Exclusive White LP with lyric sheet.
“For The Girls” joins Kiyoko’s most recent releases, the catchy, effervescent “Found My Friends” and romantic, hopeful “Chance” all set to be featured on Panorama. Following her 2018 landmark debut album EXPECTATIONS, Hayley created Panorama with frequent collaborators, Pat Morrissey and Kill Dave, in addition to new kindred creative spirit and executive producer, Danja (Justin Timberlake, Britney Spears).
Against the backdrop of Asbury Park , NJ rock and punk history comes BEACH RATS. With a membership that includes four impossible-to-avoid New Jersey punk stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz (Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded out by Danny Windas, AKA “Dubs” on drums . BEACH RATS play a brand of hardcore/punk that stays true to their members’ roots while creating something completely fresh and urgent.“I had moved to Asbury Park,” recounts guitarist Brian Baker. “And it turned out that Pete [Steinkopf] and Bryan [Kienlan] from the Bouncing Souls were sniffing around and had the idea to do a fun side-band with Ari Katz from Lifetime. They had recently played together at a memorial for Dave Franklin [Vision frontman, R.I.P.] and had a blast. That was the foundation of it. Like most of my career, I walked into a pre-existing situation, ready to go. They were talking about it and I was immediately like, ’I want to be in a band! Bands are great, let’s go!”
The common denominator for BEACH RATS for was simple. “It’s a mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80’s hardcore riffs because we were there,” states Bryan Kienlan. “You’re gonna get authentic punk and hardcore from BEACH RATS because we are all from the 80’s. It’s literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, And of course, Minor Threat.”
Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release.
Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album.
Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’.
For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote.
For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”.
Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’.
The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.
Of this release, Needle Mythology co-founder Pete Paphides says, “As a life-long fan of the Finn brothers’ music in all its incarnations, I’m grateful that Tim and Neil have given us the opportunity to re-present their work to the world in a manner that befits the magic of these sessions. The experience of hearing these songs emerge from the speakers at Abbey Road is one I’ll never forget.”
Nostalgia: it’s a fickle beast, isn’t it? Everyone loves music that evokes a strong sense of days gone by, but stare through those rose-tinted glasses too long and you lose the magic of the present. With their brand-new sophomore album, Patina, Toronto-based indie pop band Tallieshave found a way to expertly walk that razor-thin tightrope, nodding to their favorite bands of the past while transforming their sound into something tight, bright, and undeniably fresh.
They dove into bands like the Sundays, the Smiths, Aztec Cameraand added their own signature elements, including Sarah’s airy-yet arresting vocals, Dylan’s stunning, gossamer guitar work and Cian’s astronomic drumming. The follow up to 2019 self-titled debut, which solidified them as Canada’s leading dream pop scholars, Patina’s lush soundscapes were produced by Graham Walshof the stalwart art-rock band Holy Fuck (who has also helmed records by Alvvays, Metz and Bully) and features a juxtaposition of light and dark, upbeat tunes with undercut with sometimes deliciously discordant guitars.
Patina is out on two color LP and digital services July 29, 2022on Kanine Records. Tallies self-titled debut is also available on green vinyl, CD and digital.
Vinyl LP pressing. Josh Rouse wrote the songs for Going Places, while hunkered down in Spain with his family in 2020 and 2021. The inspiration was to have a set of new songs to play in a small club run by a couple of his Spanish bandmates. Josh recorded and produced the songs in his home studio. The result is a collection of songs that feel a bit looser, lean into the guitar a bit more and will sound great in the live setting. It's also another sonic shift for Josh, who is not afraid of changing things up. What remains consistent is Josh's ability to write hooks and find grooves that create a sound that is at once familiar, but wholly new. Fans will likely gravitate toward, "Hollow Moon," which in a just world, would be a massive hit single. It is classic Josh Rouse. But songs like, "Apple of My Eye," and "She's In L.A." definitely show the Spanish influence, which Rouse calls, "A Pan-American sound"
Reissuing the outof print, standalone show of the Dead’s final performance of their Europe ’72 Tour at the Lyceum Theatre in Lo ndon on May 26, 1972. This is the Dead’s lastperformance to feature vocals by founding front man Ron “Pigpen” McKernan before his passing 9 months later.-Fifty years ago, when Europe '72 was released, the third LP of the set included two sides of some of the finest, most uniquely beautiful music the Dead had ever played, and thankfully, recorded. The Truckin', Epilogue , Prelude , and Morning Dew knocked everyone's socks off. Decades later, when tape traders were able to hear the entirety of the final show of the Europe '72 tour, not only were they greeted with this spectacular 40+minutes of music, but what is widely considered one of the best complete shows the Dead performed in their 30 year touring career. With Playing In The Band clocking in at more than 17 minutes, by far the longest version of this improvisational masterpieceby this point and ending their first set with the traditional second set closing Not Fade Away Goin ' Down The Road Feeling Bad Not Fade Away , the Dead signaled throughout this show that they wanted to leave everything on the stage. They clearly weren't out of gas and wanted this tour to keep rolling. If there was one show that encapsulates the entirety of the excellence of the Europe '72 tour, it's this one. Pigpen would sing a few songs this night, the final show at which Pigpen sang, as he left the band a few weeks later.
Celebrating the 50th Anniversary of the Grateful Dead's iconic Europe '72 Tour with the original Europe '72 album, newly remaste red.Plangent Processes tape restoration and speed correction, with mastering by GRAMMY® Awardwinning engineer Dave Glasser, Produce d for Release by David Lemieux. 180-Gram, Black Vinyl. -In another industrydefying move,the Grateful Dead followed up theirfirst Gold Record, the 1971 liveshowcase SKULL ROSES , with another live album, one that to most fans and critics surpassed even the excellence of the previous offering. From April 7 to May 26, 1972, the Dead performed and recorded 21 live concerts, plus a set in a television studio, with every night being an exceptional display of the magic that was uniquely the live Grateful Dead. These concerts and this tour, 50 years later, are still considered one of the highest of high points in the Grateful Dead's performing career. In an era whena double album was rare enough,the Dead outdid even their own lofty standards by producing a 3 LP masterpiece that to this day is considered one of the finest live albums ever produced. Remastered from the original analog tapes, the album has never sounded better.
You’re The Boss is Montreal-based musician/producer Patrick Holland’s first foray into guitar-driven indie pop, full of upbeat reflections on relinquishing control. Known primarily for his electronic releases under aliases such as Project Pablo and Jump Source, Holland has spent the last several years traveling the world playing DJ sets and festivals. Behind the scenes, he was also working as a mixing engineer, producer and remixer, lending his technical prowess to TOPS, Cut Copy, Jacques Greene, Homeshake, and more.
Over a period of several months, he wrote and recorded the album in tandem, playing most of the instruments himself as well as writing and singing lyrics for the first time in his recorded work. The resulting record is a fitting re-introduction to Holland as an artist: singles “Sinister Bell” and “Nice Try” feature earworm arrangements of sunny guitars and velvety vocal harmonies (including backing vocals from TOPS’ Jane Penny, David Carriere and Marta Cikojevic). Elsewhere, Holland mixes his otherworldly synth textures with saxo-phone solos, by Chris Edmondson, on tracks like “Sink to Dusk” and “The Shame Of It All” creating a moody, contemplative atmosphere reminiscent of his past work.
It’s ironic, in a way, that an album about relinquishing control would turn out to be such a masterful display of creative faculty. Long-standing fans of Holland’s, however, will find this unsurprising - there’s an easygoing precision to everything he does; a balance between painstaking attention to detail and affable ease. Though it’s full of firsts, You’re The Boss sounds like the work of an indie artist decades into their career.
Revelators Sound System is the collaborative musical project of MC Taylor (Hiss Golden Messenger) and Cameron Ralston. Recorded throughout 2020 and 2021, largely at Taylor's home in Durham, NC and Richmond, Virginia's Spacebombstudio, where Ralston serves as the house bassist, the album is a deep meditation on community that caroms from root-down avant-funk and spiritual groove to solitary cosmic minimalism and twinkling dubby ambience. Importantly—most importantly—Revelators is deeply emotional record, the running soundtrack to a world in confusion.
“Grieving,” with its trunk-rattling double drums and searing electric Clavinet, imagines a rhythmic meeting of The Meters, post-Bitches Brew Miles and Can before dissolving into a smoky, time-smeared coda that is a direct descendent of Lee 'Scratch' Perry's headiest Black Ark productions, while “Collected Water” is a mournful, pointillistic improvisation between Taylor's drifting guitar loops, Ralston's loping double bass, and the melodic dancing between Daniel Clarke's chiming piano figures, J.C. Kuhl's insistent saxophone and Reggie Pace's subtle, circular percussion. “Bury the Bell” is a shimmering, Alice Coltrane-inspired piece for guitar, clarinet and orchestra that spins off into stardust. The album concludes with “George the Revelator,” a lush devotional epic built atop the on-the-one drumming of J.T. Batesthat shakes and rolls with psychic, psychedelic fervor.
Revelators is a testament to the telepathic and soulful musical interplay between Taylor and Ralston. “We only ever talked about what emotion we were going for,” Ralston recalls. “We never talked about gearor fidelity.” Taylor echoes this sentiment, elaborating, “This record is about grief. Grief, and whatever comes after. We were looking for a way to communicate that musically.”
Time after time, we all talk about … well, time — often in aphorisms and cliches. X is “a waste of time,” while Y is “time well spent.” We are all apt to lose track of time but, perhaps in equal measure, we have plenty of time on our hands. We think we have all the time in the world -- until we remember that time flies, after which our time runs out and we’re dead (for a long time).
Since 2020, internal clocks have had to be readjusted with the pace of life ebbing and flowing. For Los Angeles psych-rock sextet Hooveriii (pronounced "Hoover Three") that adjustment seeped its way into their songwriting and ultimately their forthcoming album, A Round of Applause.
The record cherrypicks from an array of genres — pop, girl-group ditties, synth-ish keyboards and funk —but the end result is a cohesive long-player with songs that revolve around the Spanish Inquisition (“Stone Man”); or follow “the legendary Peruvians who run long distances in the Andes Mountains (“The Runner”). “I let my imagination run wild,” Hoover said. Elsewhere on A Round of Applause, the Hooveriii frontman finally recorded a song, “The Pearl,” that he wrote in 2017. “It sounds like a Harry Nilsson jingle like to me, a fantasy song,” he continued. “It's more like a nursery rhyme than a song with an important message. You know, it's just like keeping things fun. … Nilsson didn’t take everything so fucking seriously. We want to avoid that self-seriousness. We're a bunch of goofy musicians.”
2022 release. Un Verano Sin Ti is the fourth solo studio album, and fifth overall, by Puerto Rican rapper and singer Bad Bunny. Comprised of 23 tracks, the album is primarily a reggaeton, cumbia and indie pop record, and contains guest appearances from Chencho Corleone, Jhay Cortez, Tony Dize, Rauw Alejandro, Bomba Estéreo, the Marías and Buscabulla.
After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it’s a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what’s worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become “the accountable one” this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band’s customary nods to the lineage of two-tone. It’s further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they’d built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to.
The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including “She’s Kerosene”, with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts and across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy, when like the rest of the world, the band’s plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road starting this Spring, co- heading with Flogging Molly and touring through the remainder of 2022 and beyond.
The eponymous solo albums written, performed, and produced by Paul McCartney from 1970, 1980, and 2020. Includes 3 LPs on 180-gram audiophile vinyl with 3 limited edition photo prints and an introduction from Paul housed in a beautiful slipcase box.
Multi-Platinum chart-topping singer, songwriter, producer, and multi-instrumentalist Lauv asserts himself first as a storyteller. 11 billion streams after 2015 viral sensation, “The Other”, Lauv’s next chapter continues to attract audiences by transforming magic around him into generational anthems. Sonically the most challenging & exciting yet, Lauvwill release highly-anticipated second full-length album, All 4 Nothing in August. Featuring “26” and lead single “All 4 Nothing (I’m So In Love).”
3 180 Gram BLACK vinyl discs, in tri-fold gatefold jacket, with 12”x 36” 2 sided poster.
Fear Inoculum is the Grammy award winning masterpiece from Tool. Following the release of the limited edition single pressing ultra deluxe 5 disc vinyl box set, this critically acclaimed album is available now as a 3 disc 180 gram set, that features new artwork in a triple gatefold jacket and an exclusive poster.
Tool members include drummer Danny Carey, guitarist Adam Jones, bassist Justin Chancellor and vocalist Maynard James Keenan.
The first completely original Primus music in over a decade comes in the form of a 3 song 12". It kicks off with 12 minute epic "Conspiranoia" exploring the absurdity and darkness bubbling up in the contemporary world - perpetuated, as frontman Les Claypool says, "by anyone with a slight hint of web design aptitude." Claypool goes on to say: "Because all 3 songs were bred in an odd time of divide, confusion, angst, frustration, and social senility, the title 'Conspiranoid' seemed appropriate."
A great pop record is like a great friend: an intimate confdante, a shoulder to cry on, and a partner in crime when you’re ready to get dolled up and dance the pain away under the disco ball (or in front of your bedroom mirror.) That’s what you’ll fnd on MARCI, the solo debut from Marta Cikojevic of Montreal soft-rock group TOPS, who steps out on her own with a collection of self-assured synth pop songs brimming with sincerity.
One In A Million is the second studio album by Aaliyah. First released in 1996 by Blackground Records, the album features production from a variety of producers including Timbaland, Missy Elliot, Carl-So-Lowe, J. Dibbs, Jermaine Dupri, Kay Gee, Vincent Herbert, Rodney Jenkins, Craig King, Darren Lighty and Darryl Simmons. With countless accolades, One In A Million remains one of the most influential albums in Hip-Hop & R&B and proved to be a major breakthrough in Aaliyah's career. Welcome to the new world of funk.
AMON AMARTH / GREAT HEATHEN ARMY - Amon Amarth Announce New Album "The Great Heathen Army" Out August 2022. One of the best-loved metal bands in the world, AMON AMARTH are firmly dedicated to aiming high when they hit the studio. Recorded with esteemed studio guru Andy Sneap at the controls, 'The Great Heathen Army' represents another bold leap forward for the band, as their trademark sound undergoes yet another skilful, evolutionary overhaul, both lyrically and musically. From the noisily rabble-rousing "Find A Way Or Make One" and the pummelling, pugilistic "Get In The Ring", to the evocative fury of "Saxons & Vikings" and the cinematic squall of the title track, 'The Great Heathen Army' encapsulates the essence of this legendary band, while still allowing acres of space for new ideas. METAL BLADE
Will Stewart's new full length 'Slow Life' is a collection of songs that capture his unique blend of varied styles and interpretations. In our current rapid fire consumer culture of "brands" and "influencers," Slow Life invites people to take a seat and relax for a while. While past releases County Seat (2018) and Way Gone (2020) drew from a more internal and reflective mood, Slow Life approaches the music in a more immediate and whimsical spirit.
NOW That’s I Call Music! ‘90’s Alternative Rock features 18 hits from the ‘90’s that represent the diverse artistry and spirit of the decade with tracks from Lenny Kravitz, Stone Temple Pilots, Blues Traveler Spin Doctors, Gin Blossoms and more.
NOW THAT'S WHAT I CALL MUSIC! 83 - NOW That's What I Call Music! Debuted in the U.S. in 1998, following 15 years of multi-platinum international triumph. The series has sold more than 250 million albums worldwide, topping 104 million in the U.S. alone. 68 previous releases in NOW's numeric U.S. series have reached Billboard's Top 10, and 19 volumes have reached Number One. Now, Vol. 83: That's What I Call Music
Vinyl LP pressing. 2022 release California-based trio Heavy Gus release their debut album Notions. Led by singer/songwriter/guitarist Dorota Szuta, the band includes multi-instrumentalist Stelth Ulvang of The Lumineers and percussionist Ryan Dobrowski of Blind Pilot. The band took shape during the pandemic when songwriting couple Uvlang and Szuta (a marine scientist who also has a background in music playing with Laura Gibson and Gill Landry) took a socially distanced road trip to Nashville - picking up Dobrowski in Colorado along the way - to record at The Creative Workshop. The resulting collection of songs blur the lines between grungy garage band fare, hazy desert surf, and dreamy, sun-soaked indie rock. Their debut offering calls to mind everything from Meat Puppets and The Breeders to Yo La Tengo and Acetone in it's artful balance of hope and fatalism, loneliness and desire, strength and vulnerability.
Originally released in 2007, Malcolm Middleton’s third solo album (and first for Full Time Hobby) is being made available on vinyl once more for its 15th anniversary. Only ever released on black vinyl in limited numbers around the original release, this updated version has been re-cut to optimize sound quality and pressed on clear vinyl.
More than two decades deep, and preparing to release their eighth studio album, Psycroptic are in fine fettle. The follow up to 2018's As The Kingdom Drowns is on the horizon, and Divine Council sees the Australian band ready to push their creative boundaries in new ways as part of their ethos to always keep things fresh - both for themselves and their listeners.
Ural Thomas is universally recognized as one of the most exciting singers remaining from the original soul era, and an active musical institution for over sixty years. His catalog has slotted into countless sweet, seductive mixtapes between James Brown, Otis Redding, and Stevie Wonder (all of whom he has performed with). Leader of the rhythm and blues vocal group The Monterays, his success brought him to Los Angeles where he caught the ear of industry bigwig Jerry Goldstein, best remembered for managing Sly and The Family Stone and producing dozens of iconic records by the likes of War, The McCoys, and The Angels (co-writing "My Boyfriend's Back"). Goldstein brought him into the studio with arranger Gene Page (known for thousands of recordings with everyone from Aretha Franklin to Elton John to a veritable who's who of Motown stars) to record two landmark 1967 singles "Pain Is The Name of Your Game" and "Can You Dig It". Ural Thomas & the Pain have released two full length albums: 2016's self-titled release and 2018's The Right Time. The return with Dancing Dimensions, their third record together.
Harmonizing folk duo The Brother Brothers are used to hearing Everly Brothers comparisons, but even Phil and Don couldn't beat the sound of siblings Adam and David Moss, who share identical DNA. The twins started weaving their voices together before they hit first grade, learning by singing along to the Everlys, the Beatles and other artists they found in their dad's record collection. On their new album, Cover to Cover, The Brother Brothers pay homage to those early influences and other favorite songwriters with unique arrangements of both beloved classics and songs they want more people to hear. Among their eclectic picks: Tom T. Hall's "That's How I Got to Memphis," Jackson Browne's "These Days," James Taylor's "You Can Close Your Eyes," Hoagy Carmichael's "I Get Along Without You Very Well (Except Sometimes)," Robert Earl Keen's "Feelin' Good Again," Richard Thompson's "Waltzing's for Dreamers," Judee Sill's "Rugged Road" and Tom Waits' "Flowers Grave." Their exquisite version of Lennon and McCartney's "I Will" holds special significance, because they created their own harmonies over the solo-vocal original when they were 6. Fiddler/violinist Adam and cello player/guitarist David also called on special friends, from singer/mandolinist Sarah Jarosz to Lake Street Dive vocalist Rachael Price - who sings with her sister, Emily, making this effort even more of a family affair.
Limited vinyl LP pressing includes bonus CD edtion. 2022 release. Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim's seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman.
"Livin' My Best Life is the full-length follow-up to Dylan Scott’s Nothing To Do Town EP. His deep, resonating drawl delivers a personal set filled with the dusty backroads, barstools and church pews that defined his youth growing up in Louisiana. The 2021 CMT Music Award winner co- penned eight of the album’s 17 songs, whose credits boast an all-star lineup of writers like Tyler Hubbard, Brian Kelley, Morgan Wallen and Thomas Rhett, among others. Notable tracks include fiery heartbreak single “New Truck,” unifying anthem “In Our Blood (feat. Jimmie Allen)” and his second career No. 1 “Nobody.”"
Flocked blacklight glow in the dark cover jacket, discobag and neon magenta vinyl.
When two artists as esteemed & talented as Apollo Brown & Stalley come together, they shine, even in the dark. “Blacklight” represents the combination of two titans of hip-hop, both largely recognized as legends in their own right while also being overlooked by some when the discussions of “best alive” come up.
Downtown Records present, The Bird Song Project "For The Birds: The Birdsong Project". An art-filled, 20LP box set including over 200 tracks of original music and bird-related poetry. Proceeds from the sale of this collection and supporting events will be dedicated to the protection of birds and the habitats they need, today, tomorrow, and for all our futures. Specifically it will go to the National Audubon Society.
The Birdsong Project is a community dedicated to the protection of bird life, and to the celebration of the joy and mysteries of birdsong. We believe that birds - no matter feather or flock - are precious and inspiring and fundamental to our world. That a world without birds would be a world without freedom and flight and song. We believe birds matter, are endangered and need our help.
Recorded at Ardent Studios and released in 1972, the album has gone on to become one of the most influential and iconic debut albums of all time. This 50th-anniversary edition is pressed on 180-gram metallic gold with purple smoke vinyl and features all-analog mastering by Jeff Powell at Take Out Vinyl. The album has been included in Rolling Stone’s 500 Greatest Albums of All Time, with the song “Thirteen” featured in its 500 Greatest Songs of All Time.
Indie Exclusive * 25th Anniversary * Previously long out-of-print, this classic sophomore album by one of the greatest ska bands ever was given a proper treatment for its 20th anniversary. This is a must-have for any Slackers fan, regardless of whether you own the original or not. Remastered for vinyl, “Redlight” never sounded as good; and with a two-color foil stamped cover, exclusive art-print insert, and lyric sleeve, it’s never looked so good either! Originally released by Hellcat Records in 1997, this album truly solidified the Slackers’ iconic sound, blending ska, reggae, soul, jazz and dub, seamlessly, with the passion and integrity that the band has embodied. Whether you’re a new fan, or an old diehard, and whether you pick it up at the band’s merch table, your local record store, or your favorite online retailer, this brilliant re-issue is not one to pass up.
Faye Webster announces Car Therapy Sessions, an EP of new and re-imagined songs by Webster recorded at Spacebomb Studios with a 24 piece orchestra. The orchestra was headed by Trey Pollard who was responsible for both conducting and arranging, and Drew Vandenburg produced and mixed the EP. Car Therapy Sessions will be available on vinyl in the fall and is available to pre-order on April 13th.
“I have a vivid memory of walking around London in 2018 listening to a mix of Jonny, which I had just written. I remember thinking “I want to perform this song with an orchestra”. I truly have had my heart set on it since then, always talking about it and figuring out how or when to make it happen,” says Webster.
On the EP, Webster reimagines three songs from her critically acclaimed 2021 release I Know I’m Funny haha and 2019’s Atlanta Millionaires Club. The songs “Kind Of”, “Sometimes” and “Cheers” take on a cinematic and glimmering new sheen. In addition to the title track - “Car Therapy” - she also shares a sprawling and emotional work - “Suite: Jonny” - which combines fan-favorites “Jonny” and “Jonny (Reprise).” The two songs originally appeared on the Atlanta Millionaire’s Club tracklist, two different views on the same narrative. Here they’re presented together.
It’s remarkable how beautifully Webster’s work can take on this orchestral treatment. Like Cole Porter, or Judy Garland - her delicate and emotional delivery packs a gut punch when dramatized by the EP’s robust arrangements
Classic blues record re-mastered from the original tapes and on 180 gram virgin vinyl. Etta James' greatest ever album, and one of the greatest Soul LPs of all time. Original stereo version, re-mastered from the original tapes. Contains the hits "Tell Mama" and "Security." Also contains the original version of the blues classic "I'd Rather Go Blind." Recorded with the Muscle Shoals session guys at Fame studio.
Originally released on XL in 2009, Discovery is the collaborative synth pop project from Rostam Batmanglij (founding member and producer of Vampire Weekend) and Wes Miles (lead singer / songwriter of Ra Ra Riot). The album features guest appearances from Ezra Koenig and Angel Deradoorian, and is reissued for the first time in 5 years on limited edition Orange vinyl, with an unlisted bonus track that was not on the XL pressing
The fourth studio album by rock legend Chris Isaak was originally released in 1993 and subsequently certified gold in the US, Canada and the United Kingdom. Dedicated to the memory of sound consultant Louie Beeson, the album includes the titular track “San Francisco Days” in Isaak’s modern blues style, “Two Hearts”, “Can’t Do a Thing” and a cover of Neil Diamond’s “Solitary Man”. The lush, guitar-heavy record features James Calvin Wilsey, Rowland Salley, Danny Gatton, Jeff Watson and Tom Brumley.
Frank Ballard brings the party to Sun Records’ 70th Anniversary celebration with the newly remastered Rhythm Blues Party. Nicknamed “The Golden Voice,” he brings each track to life with his powerful vocals, backed by the Memphis-based Phillip Reynolds Band. Originally released in 1962 and last pressed on vinyl in 1981, Rhythm Blues Party features tracks written by Ballard, like the bluesy “I Just Can’t Help It,” the sultry “After Hours,” and the upbeat “You Gotta Learn to Rock & Roll.”
Inspired by Otis Redding and James Brown, Mickey Murray created his own groovy brand of Southern soul. His first hit, the horn-heavy “Shout Bamalama” brought him out of shoe shining obscurity and into soul stardom. Shout Bamalama and Other Super Soul Songs was originally released in 1967 and has been newly remastered to celebrate Sun Records’ 70th Anniversary. Mickey covers the full range of soul: get down with “Hit Record,” slow down with “Treat Him Right,” and rock to “East of Nowhere.”
One can't speak of California's famed desert rock movement without mentioning the visionary producer/musician Chris Goss. The so-called Godfather of the Joshua Tree-centered scene, Goss has produced famed and acclaimed albums by groups like Queens Of The Stone Age, Foo Fighters, Kyuss, Screaming Trees, and numerous others. Before he was known as a renowned producer though, he was the singer/guitarist and only consistent member of one of the most influential-yet-forgotten hard rock groups of all time: Masters of Reality. Masters Of Reality (Whose name was appropriately taken from a Black Sabbath song) had the distinction of being the only group signed to two different hip-hop labels of historical note: Def Jam and Delicious Vinyl. Originally label mates with Public Enemy and Slayer, Masters Of Reality's self-titled debut album was released by Def American in 1988. Two years later, Delicious Vinyl founders Matt Dike and Mike Ross, huge Masters fans, bought the band's contract from Rick Rubin and re-released the album with new cover artwork to renewed acclaim and commercial success. So many years later, Masters Of Reality's debut still feels like a hard-hitting breath of fresh air in a modern landscape of over-produced rock music
Pure Noise Records and Pabst Blue Ribbon have teamed up to present 'Dead Formats Volume 1'. It is a 15 track compilation featuring the Pure Noise Records roster sharing their takes on the celebrated punk/emo/ska songs that helped shape the scene in the 90's and 2000's. The track listing is below.
Esteemed hip-hop artist Vince Staples has released his self-titled album, produced by Kenny Beats. His first full-length release since 2018’s critically acclaimed FM!, the 10-track LP delves not only into Staples’ upbringing in Long Beach, but his psyche as he learns to cope with his yesterdays and strides toward new tomorrows, picking others up along the way.
Inspired by old western film scores and vintage Latin American sounds, Hermanos Gutiérrez's new Dan Auerbach-produced album El Bueno Y El Malo takes listeners on a hypnotic and sensual instrumental journey through a haunted landscape - where the haze of the desert meets the blue of a Kodachrome ocean. Born in Ecuador, raised in Switzerland, the brothers create a signature guitar sound forged by their rich cultures, a dialogue between worlds from musicians bound by blood into a singular soul.
Redcar is only the beginning. This is all an opera. It will take some time to unveil, the same way it is unveiling to Redcar, as he acknowledges his crazy freedom. Angels and stars, the sovereign verb, the heart at its center. Redcar is not really there to affirm anything but the need to say who we are and what we pray for every day. Includes a 12-page poster/booklet with lyrics.
When Dead Cross released their self-titled debut in the Summer of 2017, Mike Patton, in conversation with Rolling Stone, said “I’m not some young tough guy trying to prove a point anymore. For me to make a record like this, it’s entirely a musical adventure. I just think it’s fun, and it makes me smile a lot.” Visually, and audibly, Dead Cross is a snarling beast from some of music’s most experimental and dare we say, hardcore, musicians: Dave Lombardo (drums), Michael Crain (guitar), Justin Pearson (bass) and the aforementioned Patton on vocals, but at its core it’s a group of friends having fun, paying homage to the music they love and asking music fans to come along for the ride. It’s that very friendship that brought the band members back together once again and gave us II, their new release out Oct 28th, 2022.
Molly Lewis’s compositions seem to float into our ears from distant shores. They’re otherworldly, drawn more from landscapes of dream than from anywhere you could find on a map. Lewis is a unique presence in music today. Her trademark whistle, which brings to mind the great Peruvian soprano Yma Sumac, has graced recordings of everything from Schumann lieder and Brazilian jazz to Spaghetti Western ballads and noir lounge.
Lewis’s collaborations are diverse: La Femme, Sébastien Tellier and Dr. Dre. She’s performed around the globe, at Shanghai’s Yuz Museum, the Cannes Film Festival, Mexico City’s Salón Los Angeles, and across the whole of New Zealand. Lewis’s 2021 debut EP, The Forgotten Edge, was produced by Tom Brenneck (Charles Bradley, Amy Winehouse). It was a critical success, drawing praise from The New York Times and NPR, and landing Lewis a spot on CBS Sunday Morning.
Now, Lewis and Brenneck have teamed up again for her second EP, Mirage, bringing aboard Brazilian guitarist Rogê, as well as percussionist Gibi Dos Santos and keyboardist Roger Manning. Capacious and atmospheric, Mirage is Lewis’s most hypnotic effort yet. Like Eden’s Island (1970) by eden ahbez—whose “Nature Boy” is covered in one of Mirage’s standout moments—the album is based on Lewis’s visions of an imaginary island. The lush, oceanic textures of Mirage transport us to the sands of an unknown beach—all alone or in the company we’ve always dreamt of keeping.
Fever Dream is the long awaited follow up album to 2020's The Bastards, which landed at #12 on the Billboard Alternative charts. The Fever dream era, already sparked by the massive singles "No Love In LA," "Paranoid" and "Broken," will be the band's biggest and most visionary body of work to date; a true rebirth.
Infinitely Tall is about spaces, the ones that make, break, shape, and uplift us. The debut album from the Detroit singer/songwriter and multi-instrumentalist takes place across three chapters, each tied to a specific, precious locale: Chapter One in Charlie's childhood home in Detroit; Chapter Two in Syracuse, at Charlie's beloved college house; and Chapter Three in the vast expanses of NYC. Each chapter is its own rose-tinted paean to home, or the feeling of home, wherever it may lie. 2 LP.
The new “So Happy It Hurts: Super Deluxe” package features 2 CDs. Disc 1 features Adam’s critically acclaimed 16th studio album “So Happy It Hurts.” Disc 2 features 12 re-records of Bryan Adams’ classic hits including “(Everything I Do) I Do It For You,” “Summer of ’69,” “Heaven” and more!
25-year anniversary deluxe reissue of Mood’s seminal debut record, Doom, originally released on September 23 of ’97. Included here on this anniversary reissue is the J Dilla Remix of “Secrets of the Sand” along with some nice album packaging; matte finish, alternate cover and black flooded jacket pockets/black dust sleeves, 180 gram vinyl.
Detroit underground rap staple Quelle Chris will be releasing his new album "Deathfame" on 12/2. It features appearances by Navy Blue, Pink Siifu, Denmark Vessey, Cavalier, J Jig Cicero, and Moruf, and was largely produced by Quelle Chris himself, with contributions from Chris Keys on multiple tracks and Knxwledge on one track.
In the era of Ganser’s Just Look At That Sky delightfully descended on the world in July of 2020, I do admit that I mostly did find myself looking skyward, though that looking was often colored by an ever-present anxiety. My city was coming apart and maybe your city was coming apart too. Maybe atop the buildings of your downtowns there were guns, and men in fatigues. Maybe in front of the libraries, there were tanks, maybe in front of the food banks, there were army patrols. And yet, maybe you found an album or some tunes that reflected the times, which means both everything and nothing at all now, as time fractures into small, elastic shapes, some jagged, some joyful. An album of a moment must require malleability – songs that hold several songs within them.
Ganser is back with a couple of tunes that will anchor spring through fall, a project called Nothing You Do Matters (produced by Liars' Angus Andrew) and the songs are full, biting, sweet and relentlessly tongue-in-cheek. What propels Ganser as a band, for me, is what shines here: their performance of joyful apathy so often has many other moving parts underneath that suggest that they are a band of deep caring, simply unsatisfied with the hands they’ve been dealt by the world. The dark humor seeped into the apathy is the central and most visual part of the magic trick, but it isn’t the trick itself. It is the disappearing bird or rabbit, that which returns safely to the open palm in order to distract an audience from everything else unfolding during its disappearance.
On July 1, his birthday, Sufjan Stevens is releasing two alternate versions of his song, “Fourth of July”.
Both versions were recorded around 2014: “Fourth of July (April Base Version)” was recorded in Eau Claire, WI at Justin Vernon’s April Base studio, and “Fourth of July (DUMBO Version)” was recorded in Sufjan’s old studio in Brooklyn, NY.
The original version of “Fourth of July” appeared on Sufjan’s 2015 album, Carrie & Lowell. As is (and was) his custom, Sufjan would often rework different versions of his songs while recording an album, and “Fourth of July” was no exception. (Other versions & remixes of the song were released on “The Greatest Gift” mixtape and on the “Exploding Whale” 7” single.)
These two latest versions were recently found on old hard drives. The refrain of the song, “We’re all gonna die,” invokes a meditation on human mortality and fragility, even as it acts as an anchor of stoic hope. Its solemnity invites listeners to feel comfort, connection — even joy — wrought from great pain and loss.
The song has recently had a resurgence with listeners — which may speak to a deep national grief and sense of loss.
This 7-inch in red will ship in December 2022, which marks the 10-year anniversary of Carrie’s death.
Thirty years in the making, the Backstreet Boys are back with their first ever holiday album “A Very Backstreet Christmas”! Features classics like “I’ll Be Home For Christmas”, “Last Christmas”, “Silent Night” and new future holiday mainstays like “Christmas In New York,” “Together,” and “Happy Days.”
Having started her professional career outside of her home of Zambia, Sampa The Great returned at the beginning of the pandemic to Africa. As Above, So Below is the result of this return to her roots, embracing the sounds and themes of her origins. Sampa has reconnected with a different side of herself, one closer to the younger artistry that was nourished growing up. Now, in an age of authenticity, meet a 360 Sampa, a higher version of herself. No mask on, or role to play.
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.
With ‘Quo’ing In - The Best Of The Noughties’ Status Quo are delivering an era spanning compilation taking in their greatest hits from the band’s output thus far in the new millennium, which includes 5 Top Ten studio albums, and many fan favorites. As well as all of the key tracks from this important era of the band’s career, the collection includes brand new and never before available 2022 studio versions of the classics ‘Rockin‘ All Over The World’, ‘Paper Plane’ and ‘Caroline’ plus brand new 2022 studio ‘Out Out Quoin’ Remixes’ of live favourites ‘Backbone’ and ‘Cut Me Some Slack’. A best-of unlike any other, ‘Quo’ing In’ is the sound of a band rediscovering their mojo, shot through with a sense of fun and that irresistible Quo gang mentality. This Limited Edition 3CD Deluxe Digipak features a bonus disc with 10 previously unavailable live classics, newly mixed in 2022.
Ringo Starr’s newest EP, cleverly named “EP3,” features 4 brand new tracks featuring longtime collaborators Steve Lukather, Linda Perry, Dave Koz, José Antonio Rodriguez, and Bruce Sugar. With Ringo’s instantly recognizable vocals, feel-good lyrics, and easy-breezy melodies.
Suicide Notes and Butterfly Kisses is the debut studio album by American metalcore band Atreyu. First released on Victory Records in 2002, the album features re-worked versions of the songs "Living Each Day Like You're Already Dead," "Someone's Standing on My Chest" and "Tulips Are Better," which originally appeared on the band's 2001 EP, Fractures in the Facade of Your Porcelain Beauty. It also includes the singles “Ain’t Love Grand” and “Lip Gloss and Black.” This pressing commemorates the album’s 20th anniversary.
Experience the world’s biggest-selling album with over 100 million in sales – and the first album to be certified triple Diamond by the RIAA – on this new Thriller 40th Anniversary 2CD set. Disc 1: Michael Jackson’s 1982 smash album Thriller changed pop music forever. This original album, featuring seven top 10 hits including “Billie Jean,” “Beat It” and “Thriller,” helped Michael win a record-setting eight Grammy Awards in one night.
Disc 2: Features Thriller-era bonus material including previously unreleased demos.
Laurie Berkner’s debut children’s album is celebrating its 25th Anniversary. With this iconic release, the beloved Queen of Kids’ music marched into the hearts and minds of families everywhere and taught millions of kids to ROAR with her timeless classic, “We Are The Dinosaurs.”
Digitally remastered for both longtime fans and new audiences to enjoy, The 25th Anniversary Edition of ‘Whaddaya Think Of That?’ is sure to get everyone on their feet with favorites like, “I Know A Chicken,” “The Cat Came Back,” “These Are My Glasses,” and so many more!
Music From The Motion Picture Top Gun: Maverick features singles “Hold My Hand” by Lady Gaga and “I Ain’t Worried” by OneRepublic. It boasts instantly recognizable cuts such as “Danger Zone” by Kenny Loggins, while Miles Teller recorded a live rendition of “Great Balls of Fire.” It features original score tracks by the movie’s composers – Lorne Balfe, Harold Faltermeyer, and Academy Award-winners Lady Gaga and Hans Zimmer. The soundtrack continues the musical legacy Top Gun ignited back in 1986.
Këkht Aräkhis the Ukrainian project founded in 2018 by Dmitry Marchenko. The debut album Night & Love was initially released on the Finnish label Livor Mortis in 2019 and it’s now seeing a worldwide reissue via Brooklyn label Sacred Bones.
Dmitry’s intent to experiment with standard black metal canons previously seen at play in Through the Branches to Eternity EP (2018) solidify further on Night & Love, he mentions “back then I had an idea of combining Darkthrone’s Transilvanian Hunger type of black metal with early Internazionale or Croatian Amorvibe.”
Described as ambient or atmospheric black metal, this debut presents Këkht Aräkh’s signature dichotomy of harsh traditional early Norwegian black metal and the more ethereal and delicate melodies. On the other hand the lyrics are romantic and melancholic, clearly influenced by a stark Gothic imagery, and serve as an extra layer of mystery to the already suggestive body of work. The album beings with a soft acoustic intro in “As the Night Falls...” before descending into the raw and raucous “Elegy for the Memory of Me” and “Den Venstre Hånd PåDen Høyre”, both songs that are drenched in the more traditional black metal style of raspy, high-pitched vocals, dense, tremolo- picked riffs and fast paced drums. It is however songs like “Night” and “Love” that really set this album apart. “Night” is a softly spoken word ambient track that with a beautiful piano synth work that permeates throughout it aids in the romantic delivery and conjuring of imagery of the night. “Love” is a spellbinding and melancholic song, equal in its romanticism but one that displays a deeper sorrow and tenderness supported by calming field recordings of trickling water.
The intertwining of black metal, dark folk and ambient repeats itself, culminating in a quietly hummed outro “...And Never Ends (Eternal Love)” that alludes to and completes the album’s first track.
Këkht Aräkh is the Ukrainian project founded in 2018 by Dmitry Marchenko. Originally released on the Finnish label Livor Mortis in 2021, Pale Swordsman goes to even greater extents in building a bold and atmospheric sonic palette, and it’s now seeing a worldwide reissue via Brooklyn label Sacred Bones.
For the sound design of the album, Dmitry was inspired by The Stooges’ Raw Power to deliver a more soft sounding album, decisively less “metal”. Traditional black metal song structures still persist in songs like “Night Descends” and “In The Garden”. However, their rawness and fast tempos is quickly cut through by dark ambient passages in “Amor” and “Intro” and softly played desolate ballads like “Nocturne” and “Lily”.
The crown jewel is the album closer “Swordsman”, a track that displays a superb gothic sensibility, a poem recited over a deeply melancholic piano melody. “The Christian concept of a person ridding themselves of evil to find inner peace or to be able to leave this world safely has become the core inspiration for the song.” Dmitry explains “However, this is not the only reading possible. I purposely avoid specifics in my lyrics so that the listener can always give the song their own meaning.”
The inspiration for the concept of the album also came from David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars. “I really enjoy it when an album tells a story about some character so I came up with one.” says Dmitry when explaining the origin of the Pale Swordsman. The character is portrayed on the striking album cover art - a figure sitting aloof with a sword and a rose in each hand – and clearly symbolizes the romantic juxtaposition of belligerence and fragile beauty that permeates the album’s sound and atmosphere.
Pale Swordsman delivers a foreboding yet bittersweet melancholy through poetic lyrics, soft interludes, raw and distorted guitars, eerie drums and harsh vocals - a fragile yet potent mix that successfully amplifies the ambience.
The story of Ritual Howls begins in a southwest Detroit basement in the early winter of 2012. Singer/guitarist Paul Bancell had been writing and performing solo as well as in several bands and was looking for collaborators for a new project. Ben Saginaw (bass) and Chris Samuels (synths, drums, drum machines) were acquatances that became natural fits. With the help of a friend (Jeff Navarre), they recorded their first full-length in Ben's art studio using a laptop. Paul tracked vocals at home in his bedroom and, not wanting to relinquish control, mixed and mastered the album himself. A formidable introduction to the band's haunting, cinematic blend of twangy industrial rock, their self-titled album established the band as a unique force in the landscape of dark music, both past and present. Separated by a decade, four LPs, two EPs later, Ritual Howls is an impressively cohesive first effort and testament to the band's vision that, even in its infancy, forged a distinct sound that has only matured with perfection over time.
Blood Harmony affirms Larkin Poe as an essential force in shaping the identity of Southern rock‘n’ roll, breathing new energy into the genre with both forward-thinking perspective and adecidedly feminine strength. In a departure from the self-contained approach of past albums like2020’sSelf Made Man–praised byAmerican Songwriteras “pumped up for arena-sizedconsumption without compromising any of its stripped-down command and intensity”–LarkinPoe co-producedthe new albumalongside Texas-bred musician Tyler Bryant (also Rebecca’shusband). With Megan handling harmony vocals, lap steel, and resonator guitar and Rebecca onguitar and keys, Larkin Poe also enlisted members of their longtime live band, including drummerKevin McGowan and bassist Tarka Layman. Mainly recorded at Rebecca and Tyler’s home studio,the result is an electrifying new work that fully harnesses the fiery vitality they’ve shown intouring across the globe, imbuing their songs with equal parts soulful sensitivity and thrillingferocity. Fromthe feverish guitar work of “Bad Spell” to the soul-stirring “Southern Comfort” andsmoldering title track,Blood Harmonyreveals a band in complete touch with their formidableintuition, their storytelling fortified with a blues-heavy sound that hits right in the heart.
“When steering by your own stars, you never quite know where you’re going to wind up,” saysLarkin Poe. “Our true north is unique to us, and in following our true north without compromise,we have been out freewheeling this world on theride of our lives. And it still feels like just thebeginning. Blood Harmony is a creative step we are proud to have taken together as sisters.We grew these songs in a sweet part of our hearts and we hope they bring beauty.”
Symposium, the pop-punk band heralded as ‘the best live band in Britain’ by Melody Maker in the 90’s, release their first Best Of compilation: ‘Do You Remember How It Was?’ A compilation that gathers together their finest moments in one place and provides a fully rounded view of what made them so intoxicating in the first place. Symposium’s achievements in just six years of being a band read like a 90’s rock‘n’roll-call; supported by the likes of John Peel, Jo Whiley, and Steve Lamacq on BBC Radio 1, heralded by music mags such as Melody Maker, Kerrang! and NME, and performing on TV shows such as TFI Friday and Top of the Pops. During their appearance on Top of the Pops in 1997 performing ‘Fairweather Friend’ completely live, frontman Ross became the only singer in the show’s history to stage dive, and the band received only the third ever stage invasion from the audience after Nirvana and Oasis. This set contains the hit singles ‘Farewell To Twilight’, ‘Fairweather Friend’, ‘Drink The Sunshine’, and the previously unreleased track ‘Bleach’
Celebrating Sun Records 70th anniversary, these Johnny Adams tracks have been remixed from the original multitrack tapes for optimal sound quality. The new album tracklist has never been printed on vinyl, inspired by his 1986 South Side of Soul Street. The offering includes his hits “Release Me” and “Reconsider Me” as well as previously unreleased or digitally-unavailable tracks: “Tender Side of Me - Alternate”, “Too Much Pride - Alternate”, and a brand new version of “Give Me A Chance”.
40th Anniversary celebration of the album responsible for naming a genre! Originally released in 1982, Black Metal was the second full-length album from Venom and remains a major influence on Thrash Metal, Death Metal, and Black Metal. Includes the classic trio of Cronos, Mantas & Abaddon.
Butcher Brown’s new album Presents: Triple Trey (featuring Tennishu and R4ND4ZZO BIGB4ND) will be released on September 16, 2022. The inspiration for this album comes from Tennishu’s solo album Triple Trey released in May 2019. Shortly after, Tennishu and R4ND4ZZO came up with the idea of performing the album live with Butcher Brown and a big band. The performance received such an enthusiastic response from the audience Butcher Brown decided it must be recorded. So, in August of that same year, the band stepped into Minimum Wage Studios in Richmond and began laying down what would become Butcher Brown Presents: Triple Trey (featuring Tennishu and R4ND4ZZO BIGB4ND). The result is a groundbreaking fusion of rap and big band. There’s nothing like it.
"Indie Exclusive * Rare Electronic Boogie-Funk-Soul Album * Originally Released & Privately Pressed in 1984 * The album we are proudly presenting you today (Out Break.) is Cecil Lyde’s sophomore’s album under the ‘Home Boy’ name and was released in 1984 on his own label Alwest Records. The whole album is backed by a fantastic cast of all-star players that includes John Stephens (Miles Davis, Stevie Wonder), Gary Bell (Lionel Hampton) and Terry Carter (Swamp Dogg). These recordings (eight songs in total) are particularly interesting to boogie-enthusiasts because of their high doses of funky electro twerks, solid grooves, crazy synth work, excellent drumbeats and Cecil’s soulful (yet sexy) Doo-wap influenced vocals. This album just oozes 1980’s Soul, Funk and Electronic Boogie…you’ll quickly find yourself shaking hips the moment the needle hits the first track! This LP is an essential purchase that just begs for a place in your record collection. Tidal Waves Music now proudly presents a much-needed reissue of “Out Break.” originally released and privately pressed on Alwest Records in 1984. This rare record (original copies tend to go for LARGE amounts on the secondary market) now comes as a deluxe 180g SILVER vinyl edition with obi strip and features the original artwork. Released exclusively as an ‘indie only/RSD essential release worldwide."