In the kitchen of the Byron Bay home of Winston McCall stands a refrigerator, adorned on one side by a quote from Tom Waits: “I want beautiful melodies telling me terrible things.”
This, the PARKWAY DRIVE vocalist says, is a pretty good summation of him-self. It holds true, too, as one of the guiding principles behind Darker Still, the seventh full-length album to be born of this picturesque and serene corner of north-eastern NSW, Australia, and the defining musical statement to date from one of modern metal’s most revered bands.
Darker Still, McCall says, is the vision he and his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O’Connor and drummer Ben Gordon – have held in their mind’s eye since a misfit group of friends first convened in their parents’ basements and backyards in 2003. The journey to reach this moment has seen Parkway evolve from metal underdogs to festival-headlining behemoth, off the back of close to 20 gruelling years, six critically and commercially acclaimed studio albums (all of which achieving Gold status in their home nation), three documentaries, one live album, and many, many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically standing shoulder to shoulder with rock and metal’s greats – Metallica, Pantera, Machine Head, Guns N’ Roses – as much as it does their metalcore contemporaries. “I wanted a classic guitar tone for this record,” explains Ling, who credits much of his inspiration to the connection his riffs have with a crowd in a live setting.
Emerging from the darkness of the past few years, this is the true face of PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.
Since the band's inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of musicians making music and playing live together. "I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It's fun to play with people who bring in new styles and ideas, " says Martsch. "And it's nice to be in a band with people who aren't sick of me yet." Following several albums and EPs on Pacific Northwest independent labels, including the indie-rock classic, There's Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more great albums during that time - Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band's impeccable recorded catalog is the entry point, Built to Spill live is an essential force of it's own: heavy, psychedelic, melodic, and visceral tunes blaring from amps that sound as if they're powered by Mack trucks. Now in 2022, Built to Spill returns with When the Wind Forgets Your Name, Martsch's unbelievably great new album (and his eighth full-length)... with a fresh new label. "I'm psyched: I've wanted to be on Sub Pop since I was a teenager. And I think I'm the first fifty year-old they've ever signed." (The rumors are true, we love quinquagenarians...). When the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch's good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, Joao Casaes, both of the psychedelic jazz rock band, Orua. Martsch fell in love with their music the moment he heard it. So when he needed a new band for shows in Brazil, he asked them, and the partnership went so well Martsch, Almeida, and Casaes continued playing together throughout 2019, touring the US and Europe and ultimately recording the bass and drum tracks for When the Wind Forgets Your Name at Doug's rehearsal space in Boise. After Martsch tracked guitars and vocals, they group collaborated from afar to mix the album. What emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists' distinct musical ideas. Alongside Built to Spill's poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds, from guitar-driven rock odes to REM and Dinosaur Jr to bluesy '60s-style anthems to dub-reggae-inspired instrumentation. It may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.
Charley Crockett will release his latest album The Man From Waco on September 9th via Son of Davy/Thirty Tigers. Crockett wrote or co-wrote all 14 songs on the album, and in many ways The Man From Waco is the purest distillation of his artistry to date. What started as a demo session with producer Bruce Robison at Robison’s studio The Bunker outside Austin, TX turned into the first album Crockett has ever made with his band The Blue Drifters backing him from start to finish. Mostly first takes with only a handful of overdubs, The Man From Waco finds Crockett refining his singular “Gulf & Western” sound which continues to captivate an ever-growing legion of fans.
“I just wanted an honest partnership: do it at your place, live to tape, everybody in the room,” Crockett says of the recording experience, and Robison was happy to accommodate. “The magic is in the performances on that tape. That’s what Bruce wanted to do, that’s what I wanted to do. When we were done, I said ‘these are masters, not demos.’”
There’s a loose narrative thread that ties the album together, but at the center of The Man From Waco is Crockett, who continues to trust his instincts and carve out his own singular space. Eschewing the ever-growing siren song of major labels and GRAMMY-winning producers, Crockett is forging ahead as a mostly DIY artist, calling his own shots and giving himself the space to strive for greatness on his own terms.
“Everybody was telling me: ‘go right, go right, go right,’” says Crockett. “I went left. I had to hold on to what has gotten me this far.”
The Man From Waco will be in a record store near you on September 9th on CD, Vinyl, and an indie record store exclusive edition featuring alternate album artwork.
Over the course of the last two decades, Of Montreal's creative force, Kevin Barnes, has been wowing fans with their vast catalog of endlessly fascinating pop and mesmerizing live shows. Barnes' songwriting and production aesthetic has since become iconic in the industry and has garnered massive critical acclaim in publications such as Rolling Stone, The New York Times, NPR, and Pitchfork, who described the band's album, Hissing Fauna, Are You The Destroyer? as "ceaselessly fascinating and inexhaustibly replayable," as well as ranking it as the #5 album of the year. Barnes' influence on pop music is undeniable, with multiple late night TV appearances, including The Late Show With David Letterman and Late Night with Jimmy Fallon, as well as brilliant collaborations with the likes of Solange, Janelle Monáe, Jon Brion, and others. The band has also performed across the globe, with festival appearances at Coachella, Sasquatch!, Pitchfork Music Festival and others, as well as hundreds of millions of streams worldwide. On Of Montreal's latest album, Freewave Lucifer f ck f ck f ck, Barnes continues to push the boundaries of what pop music can be. On songs like "Marijuana's A Working Woman," Barnes revisits themes of psychedelia using pulsating synths over their instantly recognizable bass playing. The album also touches on aspects of gender fluidity and is a fascinating look at what makes Barnes one of the most prolific and creative songwriters making music today. "An astonishingly good late-period record from Of Montreal that's as uncomfortably savage in it's depiction of breakup psychology as it is relentlessly catchy." -Pitchfork (8.7 Best New Music - Hissing Fauna, Are You The Destroyer?)"The thesaurus-loving psychedelic chameleons return with what might be the glammiest groove since the late Marc Bolan shimmied on to the next dimension." -Rolling Stone on Aureate Gloom"[Lousy With Sylvianbriar] is one of the most memorable, lasting, and relatable albums in Of Montreal's extensive catalog, and easily one of the best." -AllMusic"... every year or so Of Montreal is going to release a new full-length of mind-bending glam-punk decadence that sort of blows everything else away." -Paste
The Paranoyds are Southern California DIY rock royalty. Fueled by the fiery energy of their live shows paired with raw lyricism and subtle societal commentary, The Paranoyds are unafraid and unapologetically in perpetual pursuit of a good time. The four-piece is made up of Laila Hashemi (keyboardist-vocals), Lexi Funston (guitars/vocals), Staz Lindes (bass/vocals) and David Ruiz (drums, vocals) who together masterfully blend light-hearted playfulness with sharp sincerity over fuzzy guitar, dreamy vocals and punchy, punky rock-n-roll.
Talk, Talk, Talk, the sophomore album from The Paranoyds gives the band space to expand, evolve and above all, have fun. Over 11 tracks, the band experiments with sounds that span an eclectic array of genres–from jazz, to lo-fi punk-rock, to groovy R&B–that melt together showcasing the innovative range of The Paranoyds.
To coincide with the band celebrating their 50th anniversary this year, Roxy Music’s career-encompassing collection from 2001 is available for the first time on vinyl. Containing all of their classic singles including “More Than This,” “Jealous Guy,” “Love Is the Drug,” “Virginia Plain,” and classic album cuts, it’s a definitive testament to one of the most influential and daring artist catalogs of all time. This beautifully presented 2 LP set includes enhanced artwork and full song lyrics.
Patient Number 9 is Ozzy Osbourne’s13th solo studio album and a continuation from 2020’s top 5 release Ordinary Man, once again produced by Andrew Watt. This 13-track project running nearly over an hour long has the most legendary guests ever on an Ozzy Osbourne release. Three tracks alone – “Patient Number 9”, “Degradation Rules”, and “One Of Those Days” – feature Jeff Beck, Eric Clapton, and Tony Iommi (Black Sabbath) respectively, not to mention Josh Homme (Queens of The Stone Age), Mike McCready (Pearl Jam), Chad Smith (Red Hot Chili Peppers), Duff McKagan (Guns N’ Roses), Robert Trujillo (Metallica), Zakk Wylde (Ozzy’s longstanding guitarist from the late 80’s) as well as the late Taylor Hawkins.
Stars and Satellites is an album by Minnesota-based bluegrass group Trampled by Turtles, released April 10, 2012, on their label BanjoDad Records. According to Dave Simonett, the creation of their sixth studio album started in the fall of 2011. Their studio was a log home outside Duluth, where they moved furniture aside, set up microphones and started to develop the album. The album has been on Billboard's bluegrass charts since April 18, 2012. It was also No. 14 on the Billboard Folk Album Chart, and peaked at No. 32 on the Billboard Top 200 Chart.
The limited run 10th Anniversary Edition features Red Vinyl + bonus orange flexi disc with 2 tracks. “Alone feat. Caamp (Live at Red Rocks)” has never been released in physical form and “Stars and Satellites (demo)” has never been released in any format. The latter will be exclusive to this edition and not available digitally.
Grammy-nominated singer/songwriter Julian Lennon releases two powerful new original tracks, “Freedom” and “Every Little Moment.” “Freedom” is a soulful, ethereal track intensified by Lennon's distinctive vocals that provokes an emotional and meditative journey. “Every Little Moment,” is a driving rock track, that not only confronts the wars within, but the ongoing battles we face on the outside. Lennon will continue to release singles, leading into a much anticipated studio album with BMG.
Fun Machine: The Sequel is Lake Street Dive’s second set of distinctive cover songs. While 2012’s Fun Machine paid homage to their classic R&B, soul, and jazz roots, Fun Machine: The Sequel expands the aperture a wider, featuring selections ranging from R&B and pop favorites like Dionne Warwick’s “Anyone Who Had A Heart,” and The Pointer Sisters’ funky “Automatic,” to works by introspective singer-songwriters such as The Cranberries’ gorgeous “Linger,” Carole King’s classic “So Far Away,” Bonnie Raitt’s era-defining “Nick Of Time,” and Shania Twain’s pop-country anthem, “You’re Still The One.”
Multiplatinum artist & EGOT winner John Legend announces his highly anticipated 8th studio album, Legend, out September 9 via Republic Records. The double album features Saweetie, Rick Ross, Muni Long, Jazmine Sullivan, Rapsody, Ledisi, Jhene Aiko, Ty Dolla $ign and more. Executive produced by Legend and Ryan Tedder, this vibrant project is suffused with an unapologetic spirit of sensuality and joy, informed by the vulnerability of pain, praise and healing.
Global entertainer Kane Brown’s highly-anticipated third studio album, Different Man, is set to be released September 9th. The album will feature a total of seventeen songs, including his current hit single “Like I Love Country Music,” his co-produced track, “Whiskey Sour,” his #1 hit, “One Mississippi,” “Leave You Alone,” and the new single, “Grand.” Additionally, the album will include twelve more yet to be revealed songs.
Stranger Things: Soundtrack from the Netflix Series, Season 4 will include key music covering various classic eras and styles as featured in "Stranger Things 4." The soundtrack album is conceptualized and produced by The Duffer Brothers and Nora Felder (Grammy and Emmy nominee Nora Felder has served as music supervisor for "Stranger Things" since the show's inception and was nominated for a Music Supervision Grammy the first year the category was recognized by the Academy of Television Arts & Sciences). The compilation album is produced by The Duffer Brothers and 2x Grammy nominee Timothy J. Smith.
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.
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.
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.
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.
Delta Spirit has been making music for nearly 17 years and with five albums under their belt they are set to release their follow up record to 2020’s What Is There. One Is One was recorded in southern Vermont and mixed in Texas by Matt Pence (Jason Isbell, Nikki Lane, Paul Cauthen). The album has a distinctly anthemic quality with songs like “Villians” “One Is One” and “What’s Done is Done” inducing goosebumps upon the first listen. Other tracks like “Lottery”, “Ghost of Caddo” and “Thoughts on Seneca” are more quiet in sound and song structure but deliver heavy lyrical messages that capture the listeners attention. One Is One is made for the headphones and the live concert experience.
Born Aaron Livingston, GRAMMY Award winning Son Little unleashes his album Like Neptune never sounding stronger or more confident than now, showcasing his original vision of r&b, informed by his love for hip-hop imbued with tinges of funk, pop, and psychedelia. While Little’s collaborations with The Roots and RJD2 had already helped him make a name for himself by that point in his adopted hometown of Philadelphia, critics on both sides of the pond were quick to recognize the unique power of Little’s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little’s “impeccably crafted songs” as “honest and unpretentious,” while The Independent proclaimed him “a formidable talent,” and Vice declared that he was “dissolving the barrier between R&B and rock ‘n’ roll one tearjerker at a time.”
The original motion picture soundtrack to Where The Crawdads Sing features the music of Academy Award-winning composer Mychael Danna and includes the original song, “Carolina,” written and performed by Taylor Swift.
Imagine Dragons - "Night Visions: Expanded Edition" - In celebration of the Imagine Dragons landmark debut album's 10th anniversary, expanded editions of Night Visions will be released on September 9, 2022. The 2 LP set includes the original album, an additional 9 studio tracks and 2 unreleased demos.
"Welcome To My World" is a collection of some of Daniel's most-beloved songsand is now available on vinyl for the very first time. These are the songs that built the legend...a must-have for the legion of devoted Daniel Johnston Fans as well as the perfect introduction for new listeners. The LP includes previously unheard sonic surprises.
Breaking a decade of omertà, The Mars Volta reawaken from their lengthy hiatus with an eponymous track that radically reshapes their paradigm. Formed by guitarist/composer Omar Rodríguez-López and singer/lyricist Cedric Bixler-Zavala, The Mars Volta rose from the ashes of El Paso punk-rock firebrands At The Drive-In in 2001. On a mission to “honour our roots and honour our dead”, The Mars Volta made music that fused the Latin sounds Rodríguez-López was raised on with the punk and underground noise he and Bixler-Zavala had immersed themselves in for years, and the futuristic visions they were tapping into. The albums that followed were one-of-a-kind masterpieces, their songs of breath-taking complexity also possessing powerful emotional immediacy. After the group fell silent, a legion of devotees (including Kanye West) kept up an insistent drum-beat for their return.
Now – a year after La Realidad De Los Sueños, a luxurious 18-LP box-set compiling their back catalogue, sold out its 5,000 print run in under 24 hours – the duo are back, accompanied this time by founder bassist Eva Gardner, drummer Willy Rodriguez Quiñones and keyboard-player Marcel Rodríguez-López. This song shakes loose some of The Mars Volta’s long-standing shibboleths and the dizzying, abrasive prog stylings of earlier albums absent.
Instead, The Mars Volta pulses with subtle brilliance, Caribbean rhythms underpinning sophisticated, turbulent songcraft. This is The Mars Volta at their most mature, most concise, most focused. Their sound and fury channeled to greatest effect, The Mars Volta finds Rodríguez-López’s subterranean pop melodies driving Bixler-Zavala’s dark sci-fi tales of the occult and malevolent governments. Distilling all the passion, poetry and power at their fingertips, The Mars Volta is the most accessible music the group have ever recorded.
On September 16, Capitol Records will release Marcus Mumford’s debut solo album, (self-titled). Produced by Blake Mills (Alabama Shakes, Jim James), the album includes duets with Brandi Carlile, Phoebe Bridgers, Clairo, and Monica Martin. Indie Exclusive Red Transparent 180-gram LP.
Girl Of My Dreams is an up-close look at the moments of heartache, triumph and deeply transformative experiences on FLETCHER's way to self-discovery. The new record expands on the boldly detailed storytelling she’s brought to hits like “Undrunk” and “Bitter.” This time around, FLETCHER reveals her inner world more fully and fearlessly than ever before, embracing the kind of uninhibited honesty that’s freeing for both artist and audience.
Wide Eyed Nowhere is Turin Brakes’ ninth full studio album, a set of new songs emerging 21 years after their seminal debut. It's no easy feat maintaining an optimistic attitude through the turbulence of the years, but the band found their own method down in deepest Tooting to produce this lean, bittersweet collection.
The South London 4-Piece comprising Olly Knights, Gale Paridjanian, Rob Allum and Eddie Myer recorded this new set of songs at Twin Palms - Olly's garden studio - over the summer of 2021, choosing to let time infuse into the music and mature in a way it couldn’t in a pressurised commercial studio setting.
Turin Brakes released Mercury Prize shortlisted the Optimist in March 2001 (achieving gold status in the UK), followed up by 2003’s Ether Song which featured the top 5 hit single "Pain Killer (Summer Rain)". The band has since moved on to rack up seven top 40 singles, seven top 40 albums and over a million record sales worldwide.
Created during the pandemic lockdown,The Trouble with Fever, co-produced with her husband, Patrick Carney, is Branch's fourth solo album and follows her critically acclaimed 2017 album,Hopeless Romantic. The time at home gave Branch the opportunity to stretch herself creatively. She says: "The album began during the 2020 lockdown, while Patrick and I were here at home in Nashville. I didn’t realize I was making a record at first — it was more just for our own sanity, living in a house with a toddler, getting time together to play music and screw around in the studio. I had some unfinished songs that I’d started during the Hopeless Romantic recordings that I wanted to revisit and finish."
Little Big Town is set to release their brand-new studio album, Mr. Sun, on September 16, 2022. This is their 10th studio album and first new music in over 2 years. It features their latest single, “Hell Yeah.” Little Big Town first entered the music scene more than 20 years ago. The band’s breakthrough albums, Tornado and Pain Killer, produced multiple #1 singles, including “Pontoon,” “Tornado,” and “Day Drinking,” as well as 2015’s history-making, best-selling country single of the year, “Girl Crush.” Their 2017 release, The Breaker, debuted at #1 on the Billboard Country Albums chart and #4 on the Billboard 200 to critical acclaim. “Wine, Beer, Whiskey,” was the latest from their self-produced 9th studio album, Nightfall, which also reached the top of the Billboard Country Albums chart and has garnered over 316 million global streams.
Vinyl LP pressing. 2022 release. Spanish Villager No. 3 is the highly anticipated third studio album from Grammy-nominated artist Ondara. Featuring the single, "An Alien in Minneapolis," the album was produced by Ondara and Mike Viola.
Produced by Shaun Morgan and engineered and mixed by Matt Hyde (Deftones, AFI), their album Si Vis Pacem Para Bellum, (which translates to “If you want peace, prepare for war”) was recorded in Nashville, TN over two months in December 2019 and January 2020. The Deluxe Edition of the album that spawned three #1 Hit Singles at Active Rock Radio has been expanded to include all twenty-one songs recorded during the SVPPB session along with the alternate version of “Wasteland.”
Ringo Starr's newest EP - cleverly named `EP3' - includes 4 new tracks featuring longtime collaborators Steve Lukather, Linda Perry, Dave Koz, Jose Antonio Rodriguez and Bruce Sugar. `EP3' is filled with Ringo's instantly recognizable vocals, feel-good lyrics and easy-breezy melodies. Available on CD.
The story of Miloe begins in the pews of a church in the Democratic Republic of the Congo where Miloe's family would congregate every Sunday and community and rhythm entwined. On his new release Gaps, Miloe set out with the intention of bridging the funk-rock inclinations of Minneapolis with the ebullient Congolese sounds of his upbringing. Across six tracks, Miloe stays heavily syncopated and expertly textured and makes you want to dance with its infectious energy.
Anticipated new album from platinum-selling indie greats Death Cab for Cutie coming late this summer!
8x GRAMMY® Award-nominated rock band Death Cab for Cutie return today with “Roman Candles,” the first track off their highly-anticipated tenth studio album Asphalt Meadows. The new track from the indie rock veterans – now in their 25th year as a band – arrives with an official lyric video designed by Juliet Bryant (Justin Vernon, Japanese Breakfast, Laura Jane Grace) – watch here.
As with the forthcoming album in its entirety, “Roman Candles” was produced by GRAMMY® Award-winner John Congleton (St. Vincent, Sharon Van Etten, Wallows).
Of the inspiration for the song, the band shares: “‘Roman Candles’ is about the crippling, existential dread that goes hand in hand with living in a nervous city on a dying planet. And that the only way to be in the moment is to let it all go.” The track was born from co-founder, lead vocalist, and guitarist Benjamin Gibbard’s determination to create something succinct, loud, and strikingly direct. He shares: “The lyrics were cobbled from a couple of different songs dealing with my general sense of anxiety; the feeling that the fabric that weaves a functioning society together was crumbling during the pandemic.”
Tell All Your Friends is the groundbreaking debut album from Long Island’s Taking Back Sunday. Boasting the hit singles “Cute Without The ‘E’ (Cut From The Team),” “Great Romances of the 20th Century” and “You’re So Last Summer,” the album is highly acclaimed and has influenced artists of all sizes and genres over the last 20 years. This 20th Anniversary Edition 2-disc album includes a bonus 10” featuring four previously unreleased demos.
Harmony House, the follow-up to Dayglow's runaway 2018 debut album Fuzzybrain is a finely calibrated, carefully fussed overexpression of encouragement for anyone who needs it. Inspired by the piano-driven rock from the late '70s and early '80s, the album was written, produced, performed, and recorded entirely by Dayglow himself. Featuring danceable lead single "Close To You", effervescent "Balcony" and timeless "Medicine", Harmony House is about coming to terms with change and accepting that it doesn't have to be overwhelming. The standard edition features orange vinyl.
Under the name Dayglow, Texas-based singer, songwriter, and multi-instrumentalist Sloan Struble creates catchy, effervescent, guitar-based indie pop. Growing up in the town of Aledo, Texas, near Fort Worth, Struble began recording music at the age of ten when a friend showed him how to use GarageBand on his computer. The dearth of musical collaborators in Aledo eventually led him to learn multiple instruments, and throughout his teenage years, he recorded music by himself in his bedroom, taking influence from a variety of artists from Phoenix to James Taylor. Bolstered by the catchy single, "Can I Call You Tonight?" his home-recorded 2018 debut album Fuzzybrain went viral, earning him plenty of indie buzz alongside critical acclaim, millions of streams & sold-out shows. The standard edition features hot pink vinyl.
Calvin Harris, the GRAMMY and BRIT award winning, multi-platinum artist and supper producer, revives his Funk Wav alias with the release of the album Funk Wav Bounces Vol. 2. The album includes collaborations with a vast array of guests – 21 Savage, Dua Lipa, Young Thug, Stefflon Don, Chlöe, Charlie Puth, Pusha T, Shenseea, Tinashe, Normani, Lil Durk, Halsey, Offset, 6lack, Justin Timberlake, Coi Leray, Busta Rhymes, Donae’o, Latto, Pharrell, Swae Lee, Jorja Smith, and Snoop Dog.
A coming-of-age novel in album form, populated by an outrageous cast of misfit characters: teenage vagabonds and small-time criminals, junkyard dwellers and truck-stop transients. Rapscallion marks a major creative leap and the most magnificently heavy work yet from The Murlocs. Led by Ambrose Kenney-Smith the band instill each of the 12 hypnotic, volatile rock-and-roll songs with the freewheeling energy they’ve brought to the stage supporting Pixies, Stephen Malkmus, Ty Segall and Thee Oh Sees.
Simply put, Samara Joy is next. At just 22 years old, her Verve debut `Linger Awhile' shows that with a voice, tone, and phrasing that harkens back to the most legendary jazz vocalists, Samara belongs in the company of iconic labelmates from Ella Fitzgerald to Sarah Vaughan to Billie Holiday. Samara is remarkably savvy on TikTok and Instagram, fostering a community of devoted followers through fully organic means. She is poised to be a household name, synonymous with timeless jazz music.
The album consists of 12 songs across various genres including the lead single, ‘질주 (2 Baddies)’. The album presents fans around the globe an opportunity to meet NCT 127’s brilliant performance as well as their appealing vocals. The lead single is a powerful performance based hip-hop dance track with a catchy signature synth sound and members’ energetic vocals. The lyrics portray NCT 127’s positive mindset, racing through life with confidence to reach success. Globally renowned songwriters participated in this album’s production, including Dem Jointz, Andreas Öberg, Cutfather, and KENZIE, Paul Blanco, sokodomo.
Hailing from Mongolia, The HU are unlike any other rock band in the world, introducing their new style of music they call "hunnu rock" - from the Mongolian root word for human being, "hu". Since their release, the band has been #1 on the Billboard World Albums Chart, #1 on the Top New Artist Albums, and Top 5 Globally on Hard Rock Music Album Charts (US, Canada, UK, and more). They have toured the world extensively, with sold out shows in Europe, the UK, and the United States. Following the success of the The Gereg, which not only debuted at #1 but featured viral rock hits "Wolf Totem" and "Yuve Yuve Yu" reaching Top 10 at rock radio, The Hu are back with new album, Rumble of Thunder, showcased by 6 vinyl color variants globally. This album connects the world to Mongolian culture and it's unique core values of natural preservation and spiritual connection with the earth. These core values are on full display in the new album along with deeply meaningful lyrics uplift that Mongol people, as the band wishes for prosperity and peace among all.
Package Box, CD, Photobook (80P), Envelope, Random Large Photocard (1 of 4), Random Postcard (1 of 4),
Random Instant Films (2 of 8), Random Selfie Photocard (1 of 8), Sticker (1 EA/First Press Only), Poster (1 EA/First
Press Only). Version A is Pink.
The latest full-length from Old 97’s frontman Rhett Miller, ‘The Misfit’, exists in an enchanted dimension all its own. With its elegant blurring of psychedelia, dream-pop & electronic-leaning indie-rock, the Texas-bred singer-songwriter’s 9th solo effort emerged from a charmed collaboration with Hudson Valley neighbor Sam Cohen (Danger Mouse, Kevin Morby). Miller grounds each track with the vulnerable songwriting and unaffected vocal presence he’s brought to the Old 97’s for the last 3 decades.
Perseverance carries us through the most turbulent, traumatic, and trying of times. When all hope seems lost, it shines a light from the inside that’s impossible to extinguish, no matter how hard even the darkest forces try. That light also burns bright at the heart of Gogol Bordello. Since 1999, the band have consistently riled up audiences with an inimitable patchwork of punk, gypsy, dub, folk, Latin swing, and Eastern European magic.
However, the New York-based collective trumpet the spirit of survival louder than ever on their eighth full-length album, SOLIDARITNE. Ukrainian-born band leader Eugene Hutz and Co. linked up with New York underground icon Walter Schreifels [Gorilla Biscuits, Rival Schools, Quicksand] to co-produce the album. Meanwhile, H.R. of Bad Brains guested on “Era of the End of Eras,” blessing the track with a cameo punctuated by a key moment from the Bad Brains anthem “Sailin’ On.” The band also recorded a new version single “Forces of Victory” [feat. Serhiy Zhadan & Kazka]. Dizzying acoustic guitar and violin charge forward at lightspeed before crashing into an uplifting verse kickstarted by fits of electric guitar. The accompanying video juxtaposes footage of the band with real-life scenes of citizens and soldiers in the midst of war in Ukraine shot by a Gogol Bordello crew member.
In the end, Gogol Bordello rally everyone together on SOLIDARITNE.
Ultimate Aaliyah is the second and final compilation album by legendary R&B singer Aaliyah. Originally released by Blackground Records in the UK, Australia, and Japan, and only available on CD, the 2005 compilation features three discs of Aaliyah's greatest hits and material from soundtracks and featured work with labelmate Timbaland. This is the first time the compilation is available on vinyl.
EBM is the first new music from Editors since 2019 and signals a new era from one of the UK's most intriguing and enduring musical success stories. Having previously collaborated with Editors, bringing additional production to their sixth album, Violence, Ivor Novello winning composer and producer Benjamin John Power, aka Blanck Mass, joins as a full time member and ushers in another bold chapter for a band that never stood still creatively over the course of their 17 year career. All 6 of band's studio albums have charted in the UK top 10, with 2 scoring number 1's, and their debut, The Back Room, was shortlisted for the Mercury Prize. Their 2020 tour saw them play their biggest UK headline show to date at OVO Arena Wembley, attesting to their ever-growing audience at home and abroad.
“The whole point of this record was to share every emotion that I feel,” says The Soft Moon’s Luis Vasquez.“No two songs are the same. It’s about existing in the world as a human being and experiencing many emotions and experiences throughout life.”
And so hence the title Exister, a record rooted in the ecstatic joys and crippling lows that life can throw up and how just hanging on and existing is sometimes all we have. “Exister is my way of saying ‘I’m here, deal with it.’” Vasquez says.
Sonically, this expression is a vast, expansive and potent one. The opening ‘Sad Song’, which unfurls with a dense brooding atmosphere, Vasquez describes as almost a ballad, while tracks such as ‘The Pit’ capture the opposite end of the musical spectrum, exploding as a thundering piece of industrial techno complete with gut-churning levels of bass. ‘Monster’ - a song that follows a human metamorphosis into an unrecognizable and destructive being - seamlessly combines a deeply melodic, almost electro pop, vocal hook with a slow build atmospherics to create something equally beautiful and unsettling. ‘Become the Lies’ explores the devastating consequences of being lied to by your own family and is a post-punk stomper, merging charging basslines, pummelling drums and snaking guitars, all of which combine explosively. Elsewhere the album runs the gauntlet of everything from ambient to dark wave - features ferocious guest contributions from fish narcand Special Interest’s Alli Logoton ‘Him’ and ‘Unforgiven’ - all while retaining that distinct tone that unmistakably The Soft Moon.
If there was a living, breathing rock’n’roll meme, who else could it possibly be? And this meme won’t stand still.
46 years into his recording career, Billy Idol is still the ever-moving myth, the intellectual/feral internet-age bookworm/caveman of our dreams, finding modern language for the fiery, Eddie Cochran-meets-Ziggy Stardust rip’n’roar that he’s been making since he first stepped on stage. And that’s all on The Cage EP, out September 23rd on Dark Horse Records; four tracks that engage you like classic Idol, yet keep your eyebrows raised like that stuff you heard coming out of that teenagers’ car that just rolled down the street.
It’s funny; maybe the name really did define him. 46 years ago when everyone was sniffing the nihilistic glue and giving themselves snotty little punk rock names, it was supposed to be “Idle” – but someone wrote it wrong, and William Broad became Billy Idol instead. And that’s what he became: An idol. But this idol is not made of stone, and he’s certainly not stuck on a pedestal to be done, dusted, and dusty. Billy Idol insists on being today’s news, not just yesterday’s memory. He fire-breathes dreams and nightmares, he delivers clubland croon and Bolan-blessed cool, and he moves through the desert, sluices through the cities, speeds across oceans, hills, mesas, and time. And if you think Idol is Idle, you haven’t heard The Cage EP.
It’s been exactly one year since Billy Idol released his last EP, also on the George Harrison-founded Dark Horse Records – the rich and diverse Butch Walker-produced The Roadside, which had the effect of being both in your face and full of the uncertainty and darkness of the pandemic. But a lot has happened during that time. First and foremost, Billy Idol and Steve Stevens hit the road again, and that amazing energy infected their new work.
Billy Idol: “The last EP, we were kind of warming up to this. This EP is a lot more coming at you. Loads more guitar. And that’s a lot of fun. We were pretty fired up by the fact that we hadn’t played for a couple of years, and suddenly we were bursting on stage, and it kind of woke us up to what the next EP could be: That it could be a little more strum und drang, a little more coming at you, a little more rock’n’roll, a little more f*ck you! Well, a tiny bit of f*ck you, anyhow. The bottom line is we had a lot of fun doing it.”
“Cage,” the title cut of the EP, may be Billy and Steve’s most ferocious and flat-out punk rocker in decades. In fact, it may even make you think that the spiraling riffs, soaring melodies, and morse-code rhythms of Generation X have been transported into the 21st century.
“Classic is what we were shooting for,” says co-producer Zakk Cervini.. It’s loud guitars and live drums yet treated in such a way that it can live alongside music being made today. I asked myself, ‘If Billy was a brand-new artist today, what would he be making?’ And that’s what we shot for. One of the goals Tommy and I had was to help Billy and Steve make songs that would just go crazy live. This time around, we were all thinking, shows are back, the world is opening up again, this is exciting, we want new material that just goes off live. High energy, kickass great rock songs. That’s what we shot for, and I think that’s what we got.”
Tim Burgess is an English musician, singer-songwriter and record label owner, best known as the lead singer of the alternative rock band the Charlatans. While in The Charlatans, Tim's indefatigable energy has been a consistent fuel for the band across thirteen high-charting albums, and his solo adventure has been no less extraordinary, scaling new heights in 2020 with his fifth solo album, I Love The New Sky followed by the Ascent of the Ascended EP in 2021. Typical Music is a 22-track blockbuster set of songs that are as expansive and diverse as they are rich, as fun as they are funky and that embrace heartache and love. They run the gamut, from ABBA (in the shape of guest vocalist Pearl Charles) to Zappa (free-form studio experimentation). Tim continues to host his infamous #TimsTwitterListeningParty, having drawn in members of bands such as Iron Maiden, Culture Club, Tears for Fears, Japan, the Smiths, the Go-Go's and New Order.
Paradise Again came together in the wake of rediscovering Swedish House Mafia's musical synergy on the band's 2019 reunion tour, spending countless hours in the studio, exorcizing new sonic palettes, textures, and tones from an arsenal of analog synths. It represents an ambitious broadening of their musical scope, as evinced by the wide-ranging roster of collaborators and guests, including The Weeknd, A$AP Rocky, Sting, Ty Dolla $ign, 070 Shake and many more.
Daddy Yankee’s farewell album LEGENDADDY combines all the styles that have defined him in one single album. It contains 19 tracks and has the most superb guest list yet including Bad Bunny, Rauw Alejandro, Nile Rodgers, Becky G and more. He also collaborated with some of the industry’s hottest producers including Play-N-Skillz, Luny (Luny Tunes) and Tainy. LEGENDADDY stands out as his first album in ten years and his boldest, brightest, and biggest musical statement ever.
Limited blue colored vinyl LP pressing in gatefold jacket. The Wonder Years is a band. That descriptor both defines and understates the rock band that has released some of the most life-affirming, cultural touchstones of the 2010's and 2020's. On the band's fifth full length studio album, The Hum Goes On Forever, The Wonder Years created the most "The Wonder Years" album in their career. With their trademark call-backs to previous songs/albums, and thought-provoking and heartfelt vulnerability on display, The Hum Goes On Forever is one for The Wonder Years' fans, for anyone who listens, anyone who needs it, everyone who's grown up with the band and has sought, and continues to seek, refuge in their songs.
Four-time GRAMMY nominee, multi-platinum selling saxophonist Boney James’ new album Detour marks his 18th release as a leader. Following the success of his 2020 album Solid (#1 Billboard Contemporary Jazz Chart and #10 Billboard Top Albums), Boney’s new record showcases ten original tracks including “Coastin’” featuring iconic vocalist Lalah Hathaway. Also featured is trumpeter Dontae Winslow, known for his work with the West Coast Get Down.
Steve Bates is an artist and musician known for his work with post-rock ensemble Black Seas Ensemble, duos with Timothy Herzog and Sophie Trudeau of Godspeed You! Black Emperor, amongst others, as well as a series of digital-only sonic explorations on his own label, The Dim Coast.
All The Things That Happen is his first full-length album for Constellation. For this album, Bates pursued a more stripped down exploration of the noisier terrain of the cheap timbre and tonality of the much-loved Casio SK-1 keyboard sampler. These sounds were fed through a variety of electronics, effects, amps, cassettes recorders to shift into their current form heard on these tracks. Steve notes that all the tracks started off as ambient, “but I always kept reaching for more texture and noise.” Getting reacquainted with the Casio SK-1 was the initial focus on developing the music here. Processed and manipulated during the recording and mixing stages, these initial SK-1 sessions became the foundation of this body of music. Working within the rich world of experimental electronics, these tracks have a core melodicism to them and maybe even a melancholy, as distortion and overtones saturate and spray the music in various directions, while feeling whole and integrated as a body of sound.
Three CDs. Madison Square Garden, the world-famous New York City arena, was a home away from home for The Grateful Dead, a reliable sanctuary where the band would ultimately play 52 shows, a record at the time. The venue's fine acoustics combined with the fans' unbridled energy consistently brought out the best in the Dead. At the band's 2015 induction ceremony into Madison Square Garden's Walk Of Fame, Bobby Weir said "This place was both horrifying and titillating with an audience that was discerning but ravenous. We had to rise to the occasion every time."
Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness.
On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.
Through the writing of these songs and the making of this music, I found my way back to the world around me – a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” Beth Orton describes Weather Alive, her most personal album to date, as “a collaboration with time – of someone struggling to make sense. And in that struggle, something beautiful got made.” For Orton, music re-emerged in the past several years as a tethering force, even when her own life felt more tumultuous than ever. After wrestling with mysterious health issues for years, she turned a major corner in 2014 when at long last she received a correct diagnosis and was able to begin managing her condition with medication. However, Orton found this newfound clarity almost as disempowering as the mystery of her inexplicable illness because it waylaid her sense of self, and when strange occurrences persisted, she was only able to process them through long periods of making music at the upright piano installed in a shed in her garden. These sessions in solitude turned into the eight-track Weather Alive, the first album Orton has self-produced in her 30-year career. The piano spoke to Orton, holding an emotional resonance she wasn’t able to explore with guitar. Indeed, the first notes of the album-opening title track usher the listener into an expansive, emotive and dream-like world of sound with little precedence in Orton’s prior work, and through the writing of these songs and the making of this music, Orton found her way back to the world around her. Orton’s close collaborators on Weather Alive include Tom Skinner (Sons of Kemet, The Smile) on drums and Tom Herbert on bass, with additional players adding nuance and color to the music: Shahzad Ismaily on guitar, drums, harmonica, bass and Moog, Sam Beste on vibraphone, Francine Perry on synths, and Alabaster dePlume on saxophone.
Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero—friends whose bond dates back to their childhoods in Bogotá, Colombia—moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth.
Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band’s desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world’s darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other’s contributions both to these songs and to each other.
Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.
“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”
Before he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.
“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”
That speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.
But the songs are only half of what makes the connection so compelling.
Acting as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.
Snider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”
Snider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said. I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just keep telling it and refining it. It happens under pressure.”
The timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”
While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.
“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.”
Sunny Sweeney, a genre-bending songwriting spitfire who has spent equal time in the rich musical traditions of Texas and Tennessee, returns with 'Married Alone', the celebrated singer-songwriter’s fifth studio album and the follow-up to 2017’s critically acclaimed 'Trophy'. Co-produced by beloved Texas musician and larger-than-life personality Paul Cauthen and the Texas Gentlemen’s multi-hyphenate Beau Bedford, Married Alone is Sweeney’s finest work yet, bringing together confessional songwriting, image-rich narratives and no shortage of sonic surprises for a loosely conceptual album about loss and healing.
"Before I made this album, I did two things I’d never done before. I saw Stevie Nicks in concert with Fleetwood Mac, and I toured with Bob Seger. While Waylon and Loretta are tattooed on my heart and I’m deep-rooted in fiddle, steel, and twangy telecaster, this time, I channelled my deep love for rock icons Stevie, Tom Petty, Neil Young and Bob Seger in a way I never have before. I married ethereal rock vibes with the grit of a country lyric. Paul Cauthen took the helm as producer and brought in the stellar Beau Bedford and Jeff Saenz to complete the trifecta to get the sound we were going for. The majority of the album was recorded at Modern Electric Sound Recorders in Dallas, TX and features some of the band members I play with every night on tour. I want my fans to be able to take home that live experience, the guitar tones, fiddle solos - I leave everything on the stage each night and I want people to feel that in this recording."
Iron Fist is repositioned as a vital snapshot of Motörhead at a crucial period when they found themselves caught in the tornado ignited by success and, in true Motörhead style, careered into their next phase at such velocity it transcended logic or reason to become this trio’s final kamikaze joyride. Forty years later, with fall-out long dissipated and a proper mastering job that avoided it at the time, Iron Fist sounds like prime Motörhead with the gloves and seat-belts off. For sheer velocity, it could be fastest of them all, the ferocious title track earning such an accolade in Kerrang! in its tribute spread to Lemmy after he passed away. By 1982, punk had been and gone, the new wave of heavy metal sounded squeaky and cliched next to its grubby godfathers and, while still trouncing all opposition, Motörhead retained that essential ability to laugh at everything, including themselves as they made lightning raids on every sense and orifice with everything cranked to overload. This is the limited edition black & blue swirl vinyl single LP of the album
On Internal Radio, the new album by Eerie Wanda, visual artist and musician Marina Tadic welcomes you to her inner world. Guided by intuition, Tadic’s songs use haunting, ethereal space, growing whole universes from the seeds of ideas. Internal Radio documents Tadic becoming the artist she wants to be, working through some things, and even exorcizing a few demons. The result is the most realized Eerie Wanda album yet, building on the project’s guitar pop past for a more experimental, other-worldly, serious grown-up affair that ventures into sensitive, emotional territory.
Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence.
Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend.
Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.”
The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners.
THE KINKS, Muswell Hillbillies & Everybody’s In Show-Biz – Everybody’s a Star deluxe 6LP, 4CD box set is being released through BMG on September 9, 2022 in celebration of the 50th Anniversary. The box set combines two of THE KINKS’ classic 1970’s albums - Muswell Hillbillies, the album the band toured in America; and helped define them as a rock band in the U.S.. And Everybody’s In Show-Biz – Everybody’s a Star; the album that was written in reflection of the tour. Packaged inside a newly designed two-part box, this deluxe set includes remastered audio from the original Muswell Hillbillies & Everybody’s In Show-Biz, pressed across 5 color vinyl and 4 CD’s. Also includes a bonus heavyweight black vinyl of 11 new Ray Davies remixes and a Blu-Ray video of “Ray Davies 1971 Home Movie”. Also included in the release is a “London Roots Map” of all the Kinks landmarks, x6 glossy photos, a Kinks Pin-Badge and 52pp hardback book including rare and unseen band photos and quotes.
ABBA’s all-time best-selling album is now available as a limited-edition Picture Disc 2 LP for the very first time, featuring 19 timeless hits such as “Dancing Queen” and “Mamma Mia.” Pressed on 180-gram heavyweight vinyl which features classic ABBA graphics on the design, the discs are housed in a die-cut gatefold sleeve.
PIXIES / DOGGEREL - VINYL LP - The iconic Pixies forged an influential path for alt-rock during their first era, while their post 2004 reunion has seen them alchemise more sophisticated dark arts - a return which has them add another three UK Top 10 albums to the three they achieved on their first run. Now as fired up as ever before, Pixies will release their eighth studio album 'Doggerel' via BMG, including lead single 'There's a Moon On'. 'Doggerel' is a mature yet visceral record of gruesome folk, ballroom pop and brutal rock, haunted by the ghosts of affairs and indulgences, driven wild by cosmic forces and envisioning digital afterlives where no God has provided one. And all the while, right there on the news, another distant storm approaches.
The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: “This Is What Happened.” It’s an understatement that manages to say everything. This is what happened: pandemic, politics, social unrest, war. This is what happened: a band at the peak of its creative power deciphering the turbulence surrounding us, and blazing a way through it. This is what happened: nine new songs that capture everything essential about Metric —modular synthesis, muscular guitars, locked-in rhythm and shimmering vocals from Emily Haines.
Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. Shaw brought on Synthetica collaborator Liam O’Neil as well as longtime friend Gus van Go (The Stills) to co-engineer and co-produce with him. When the border opened, Metric bassist Joshua Winstead and drummer Joules Scott Key came in from the U.S to record, adding live energy and sonic depth to complete the Metric sound.
The result is a conceptual arc that progresses from tension and turmoil to dance-floor abandon, beginning with the edgy ten-minute album opener “Doomscroller,” and progressing through a color wheel of emotions, from determined perseverance on “What Feels Like Eternity” to self-emancipation in full orchestral bloom on the title track as Haines poses the question, “Why not just let go?” There’s a sense of resolution in the very matter-of-fact, deceptively catchy “False Dichotomy,” and the album ends on a melancholy high with “Paths in the Sky,” a love song to lifelong friendship, a thematic companion track to “All Comes Crashing,” an end-of-days banger and the first single.
“This is what we’re all thinking about,” Haines says. “So let’s address it, let’s have this whole expansive emotional experience that can feel collective instead of all going through it alone.”
Formentera is available on standard CD, and a low-priced indie exclusive CD on 7/8. The standard black vinyl, and Indie Exclusive Sky Blue vinyl will be available on 9/30. All formats are available for pre-order today from your local record store.
Crazy Times is the brand-new studio album from Sammy Hagar & The Circle – Sammy Hagar (vocals), Michael Anthony (bass), Jason Bonham (drums/percussion), Vic Johnson (guitars). Featuring the title track, "Father Time," "Funky Feng Shui," and more.
2022 release. Written in early 2021, Better By Now features 10 blossoming indie-pop tracks that Brooke describes as a "spectrum of emotions." In her trademark layered approach, Brooke reflects on love, anxiety, and how two seemingly opposing forces can exist at once. "Better By Now is almost 50% about falling in love and 50% about depression and anxiety," she says. "And what that means in my life and how that applies to the world we're in right now."
Double LP on yellow & black marble color vinyl in same packaging as the standard version. Side D is an etching. Full album download included. Ltd Edition. Indie Only.
The never-ending psychedelic web of Kurt Wagner's Lambchop continues to unravel on September 30th with a new album titled The Bible.
The story of The Bible begins with Wagner up in the middle of the night during the first year of the plague, watching his new friend from Minneapolis, Andrew Broder, play a Wurlitzer on Instagram Live. Broder was one in a group of Minneapolis musicians Wagner had met prior to the pandemic through mutual friend Justin Vernon (Bon Iver). After watching the livestream, he called Broder up. “Dude, I’ll get you in a studio,” he says, “you just go in there for like three or four hours and do your thing.” Broder sent him back twelve 20 minute-long pieces. And then Wagner found himself in Minneapolis, in the sweltering summer of 2021, in a decommissioned paint factory turned practice space. Wagner would find an immediate musical spark with Broder & his musical partner Ryan Olson (Gayngs, contributor to Taylor Swift's Evermore). Olson contributes greatly to the album, both with arrangements & production. “Ryan and Andrew, they’re like two sides of my personality,” Wagner says. “And if you put them together as a team, they represent me.” Good thing, because this would be the first time Wagner let somebody else—people who weren’t even from Nashville—produce a Lambchop record.
The music on The Bible is more unpredictable than it’s ever been on a Lambchop record. Jazz careening into country, into disco, into funk, and back to country. All tied together with Wagner’s own voice, born from a perspective on his own life inspired by taking care of his father at the end of his life. The sounds all jumbled together with snatches of observations, words torn from the headlines in Minneapolis—bumper stickers on the freeway, or graffiti from outside that decommissioned paint factory. Through the weeks, musicians (local & non-local) would come & go, putting their own thumbprints on this bible. Perhaps most strikingly, contributions from two different vocal choirs (Bells of the Lakes & Lutheran Bells) & gorgeous string arrangements courtesy of yMusic co-founder C.J. Camerieri (who has also arranged strings for Sufjan Stevens, Antony & the Johnsons & The National).
Shygirl is a multidisciplinary artist from the East London club scene. She has finished her first major body of work, her debut album entitled, Nymph. Written and produced by Shygirl, alongside long-term collaborator Sega Bodega, it features additional production by Mura Masa, Bloodpop, Danny L Harle, and Noah Goldstein among others. The 12-track album is a stunningly innovative and diverse collection of songs exploring themes of friendship, community, escapism, love, and loss. Indie Exclusive Translucent Blue LP.
It could only be called alchemy, the transformative magic that happens during the Yeah Yeah Yeahs’ most tuned-in moments in the studio, when their unique chemistry sparks opens a portal, and out comes a song like “Maps” or “Zero” or the latest addition to their canon, “Spitting off the Edge of the World" (feat. Perfume Genius) — an epic shot-to-the-heart of pure YYYs beauty and power.
A thunderstorm of a return is what the legendary trio has in store for us on Cool It Down, their fifth studio album and their first since 2013’s Mosquito. The eight-track collection, bound to be a landmark in their catalog, is an expert distillation of their best gifts that impels you to move, and cry, and listen closely.
Can I Take My Hounds to Heaven? is the highly anticipated new album by Tyler Childers and his longtime band The Food Stamps. This unique collection is separated into 3 parts, each with a different sonic perspective, but all part of one album vision. “Hallelujah” is a pared-back version of the music featuring Tyler and his band only, “Jubilee” is full band including strings, horns, bgvs and a touch of sitar, and an exciting new sound in “Joyful Noise.” From Tyler Childers’ vision, it’s a genuine concept album meant to showcase the incredible musicianship of The Food Stamps.
This limited super deluxe edition celebrates George Michael’s iconic album, Older. Written, arranged and produced by George, it sees him exploring new genres as he reflected on life, loss, love and healing. Originally released in 1996, Older spent three weeks at Number 1 in the UK and spawned 6 singles including Fastlove and Jesus To A Child. The album was a huge global success, going 6x platinum in the UK, as well as being verified platinum in another 22 countries.
This stunning deluxe set features Older on double 180g vinyl remastered from original tapes plus Upper, available on vinyl for the first time. It also includes 5 CDs, 3 x 12”x12” art prints and a 12”x12” 48 page book ‘The Story of Older’ with contributions from key people who helped make the album plus rare and previously unseen photos.
Drowning Pool's seventh album, Strike A Nerve, will be released via T-Boy Records and UMe. With over 1 billion streams and over 1 million in album sales, the alternative metal band delivers a headbanging, whiplash-causing collection of songs, two of which ("Strike A Nerve," "Hate Against Hate") have been served up to fans on recent live dates with a massive positive response. Available on 180-gram vinyl.
On dear amelia, renforshort narrates an up-close and thrillingly honest journey through the darkest parts of her psyche. Her debut album spans twelve tracks and includes recent songs “moshpit” and “we’ll make this ok” featuring Travis Barker. Indie Exclusive Clear LP.
Forty years after the Summer of Love (and 30 years after the Summer of Hate), MGMT is celebrating the grand re-opening of the third eye of the world with Oracular Spectacular, an enigmatic and prophetic collection of hallucinatory sounds and hook-riddled Pop tones for the new millennium.
MGMT is: Andrew Vanwyngarden and Ben Goldwasser, two psychic pilgrims whose paths first intersected in the green pastures of Wesleyan University in Middletown, Connecticut, circa 2002. The pair was drawn to the music of other duos and found themselves incorporating the implications of the hallucinatory power-twee of the Incredible String Band, the roaring subway minimalist Electronica of Suicide, the silky Pop-Soul of Hall & Oates, the pulsing narcotic trance of Spacemen 3, the avant-garde Industrial romanticism of Royal Trux and much more into the constantly evolving sounds of MGMT.
Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time on September 30 to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.
Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.
Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. “The inter-cutting of personal stories over a wide span of time,” said NPR, “is held together by a single music approach.”
Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more.
Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc’s groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper’s Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica.
On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug(Atmosphere), Murs, Aesop Rock, Baba Zumbi(Zion I), Che Noir, Lyric Jonesand more, GOD CMPLXis a powerful and engaging project serving as a testament to Sol Messiah’s skills both as a producer as well a visionary.
The project maintains the self-proclaimed romantic’s trademark love songs, while simultaneously introducing new sides to the singer. Whether you’re sitting on the barstool broken hearted, day drinking, or falling in love – Barstool Whiskey Wonderland has a song for everything. The tracks are threaded together by Doleac’s powerhouse voice and pillow-soft, easy-listening sound inspired by the likes of John Mayer, Zac Brown Band and the Eagles.
2022 release. Songwriter is the thirteenth studio album by singer/songwriter and record producer/arranger Richard Marx. Songwriter features songs in four different genres of music: pop, rock, country, and ballads.
With The Will To Live, Titus Andronicus invite listeners on a journey from fear to faith, from anger to acceptance, from grief to gratitude, all chasing the mythical ideal of Ultimate Rock. Drawing on maximalist rock epics from Who's Next to Hysteria, the band have crafted their richest, densest, and hardest-hitting album to date, matching the sprawl and scope of their most celebrated work while also streamlining their ambitious attack to greater effect than ever before.The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and award-winning Canadian producer Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter's hotel2tango recording studio in Montreal. "It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA," says Stickles, "but the pursuit of Ultimate Rock knows no borders."The album comes packaged with gorgeous triple gatefold artwork by illustrious illustrator Nicole Rifkin.
Nonesuch Records releases the first recordings of Steve Reich’s Runner (2016) and Music for Ensemble and Orchestra (2018), performed by the Los Angeles Philharmonic and conducted by Susanna Mälkki, available on CD on September 30, 2022; a vinyl LP version will be released on December 2.
Reich says Runner is written “for a large ensemble of winds, percussion, pianos, and strings. While the tempo remains more or less constant, there are five movements, played without pause, that are based on different note durations. First, even sixteenths, then irregularly accented eighths, then a very slowed-down version of the standard bell pattern from Ghana in quarters, fourth a return to the irregularly accented eighths, and finally a return to the sixteenths but now played as pulses by the winds for as long as a breath will comfortably sustain them. The title was suggested by the rapid opening and my awareness that, like a runner, I would have to pace the piece to reach a successful conclusion.”
“Music for Ensemble and Orchestra is an extension of the Baroque concerto grosso where there is more than one soloist,” the composer continues. “Here there are twenty soloists—all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos. The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, quarters, eighths, sixteenths. Music for Ensemble and Orchestra is modeled on my Runner, which has the same five movement form.”
Limited pink colored vinyl LP pressing. 2022 release from the New Jersey-based post-hardcore band. Hell Is In Your Head is the follow-up to 2018's If There Is Light, It Will Find You. The album was co-produced by SAOSIN's Beau Burchell and features the first single "I'm Sorry I'm Leaving".
Paramore are back with their first new music since 2017. The beloved Nashville-based trio of Zac Farro, Hayley Williams& Taylor Yorkhave returned from their hiatus -and the global pandemic -with “This Is Why”, one of the best songs of their already impressive repertoire. In what’s widely recognized as one of the most exciting musical returns of the year, the band have also announced the release of their long awaited sixth studio album, This is Why, for February 10th 2023. Recorded in Los Angeles, California with long-time collaborator Carlos de la Garza, the album features 10 new Paramore songs with cover art shot by Zachary Gray.
Entering back into a world -and cultural landscape -very different from the one they last participated in, Paramore have returned with a song about exactly that. “This Is Why” is a deliciously infectious Paramore ear-worm for the post-truth world. Of the song, Williams says, “This Is Why was the very last song we wrote for the album. To be honest, I was so tired of writing lyrics but Taylor convinced Zac and I both that we should work on this last idea. What came out of it was the title track for the whole album. It summarizes the plethora of ridiculous emotions, the rollercoaster of being alive in 2022, having survived even just the last 3 or 4 years. You’d think after a global pandemic of fucking biblical proportions and the impending doom of a dying planet, that humans would have found it deep within themselves to be kinder or more empathetic or something.”
When Paramore revealed they were recording together in January 2022 the response from music fans around the world was immediate and celebratory. In the time since the Grammy-winning, RIAA-certified multi-Platinum band released their last album, After Laughter-and Hayley Williams unveiled two lauded solo albums -Paramore have become more popular than ever. Over the last few years Paramore’s influence and popularity has snowballed, as the age of streaming organically propelled them into a position as one of the world’s biggest, most culturally compelling rock bands. For the band, who formed as teenagers in Tennessee, their 20 year trajectory has seen them grow from youthful outsiders to bone-fide pop culture icons, permeating the musical landscape by inspiring a new generation of musical talent.
Alvvays' third album, the nervy joyride that is the compulsively lovable Blue Rev, doesn't simply reassert what's always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are newly aggressive moments here-the gleeful and snarling guitar solo at the heart of opener "Pharmacist," or the explosive cacophony near the middle of "Many Mirrors." And there are some purely beautiful spans, too-the church- organ fantasia of "Fourth Figure," or the blue-skies bridge of "Belinda Says." But the power and magic of Blue Rev stems from Alvvays' ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs-cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The luminous poser kiss-off of "Velveteen," the lovelorn confusion of "Tile by Tile," the panicked but somehow reassuring rush of "After the Earthquake."In October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they'd done and just play the stuff, straight to tape. On the second day, they ripped through Blue Rev front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song's absolute core, then grace it with texture and depth.
2022 release, the third album from Grammy nominated and multi-platinum singer/songwriter/producer, Charlie Puth. His first full-length project since his 2018 Grammy-nominated album Voicenotes, the highly anticipated return promises to be his most personal record to date, with every song authentically representing a piece of himself. Includes the singles "Light Switch" and "Left And Right (Feat. Jung Kook Of BTS)"
It’s impossible to describe Action Bronson in a way he hasn’t already thought of. First and foremost though, Action Bronson is a principled MC, a Queens legend respected for his idiosyncratic pen and vivid raps, now a decade into his career and still deepening his skillset. “TRUST WHEN I SAY IT AIN’T SAFE FOR ANY OF THESE ANIMALS THE ANCIENT APEX PREDATOR IS BACK ON THE PROWL.” – ACTION BRONSON
Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.
On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. That summer of introspection led her to a joyous sense of beginnings and ends. When she let love for herself in, she therein let the outside love in, too—the summer feeling, the swaying cypress, the full moon, and the possibility of healthy love. This phase came only right after one of her darkest, though, where being alone with oneself was the most terrifying thing you could do. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her.
Blood Money is etched. It’s scratched out in bold, dark lines, with marimba, trumpet, and bass clarinet and contains some songs of Tom Waits’ most memorable melodies. The songs are declarative, sardonic, unforgiving, musical dispatches, from the bottom of the heap. “Blood Money is flesh and bone, earthbound,” said Waits. “The songs are rooted in reality: jealousy, rage, the human meat wheel...They are more car- nal. I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth. I like songs to sound as though they’ve been aging in a barrel and distressed.”
Created as a celebration of Prine’s life and career, Broken Hearts & Dirty Windows: Songs of John Prine, Vol. 2 features new renditions of some of Prine’s most beloved songs performed by Brandi Carlile, Tyler Childers, Iris DeMent, Emmylou Harris, Jason Isbell, Valerie June, Margo Price, Bonnie Raitt, Nathaniel Rateliff, Amanda Shires, Sturgill Simpson and John Paul White. Proceeds from the album will benefit twelve different non-profit organizations, one selected by each of the featured artists.
Released to widespread acclaim, NPR Music praises, “aside from being one of the greatest songwriters we’ve ever had, he was also an amazing mentor to so many artists...his spirit really comes through,” while American Songwriter declares, “Those who fail to be affected by the effort involved may want to check their pulse to assure that there’s still a heart within them that’s beating at full force” and No Depression proclaims, “Broken Hearts and Dirty Windows, Vol. 2 ensures that that remarkable gift and his influence continue to live on.”
Grammy-nominated LAMB OF GOD follows their 2020 No. 1 self-titled Hard Rock Album with their 9th studio album, Omens. Produced by longtime collaborator Josh Wilbur (Korn, Megadeath), Omens is also Lamb Of God's most diverse affair. Densely muscular with a pessimistic eye toward inner struggles and global affairs alike, Omens is a furious entry in the Lamb Of God catalog, perhaps their angriest album yet. "The world is crazy and keeps changing. Omens is a reaction to the state of the world,” explains vocalist D. Randall Blythe. "It’s a very pissed-off record. The New Wave of American Heavy Metal architects will support the new album with a massive U.S. headlining tour this fall.
RIAA multi-platinum pop singer-songwriter Gayle has shared her tongue-and-cheek new song, "indieedgycool." Produced by Jonny Shorr with additional production by Pete Nappi ("abcdefu," Illenium, Madison Beer), the track is joined by an official music video, directed by frequent collaborator Jimmy Fisco. "indieedgycool" heralds the arrival of Gayle's upcoming EP, a study of the human experience volume two. Recently nominated for two MTV Video Music Awards ("Best New Artist" and "Best Push Performance"), Gayle will celebrate a study of the human experience volume two on her biggest North American headline tour to date. Along with her recent MTV Video Music Awards nominations, Gayle has earned an increasing list of honors and accolades in recent months, including a Billboard Music Award nod for "Best Viral Song," featured placement on Billboard's influential "21 Under 21" list, and most recently, Variety's 2022 "Power of Young Hollywood" Impact List. This product is an authorized manufactured on demand CD-R
As told by Patrick Watson. This album is about negotiating a world where you don’t know what’s real anymore. I really spent a lot of time reading to improve my lyrics for this record. I was very inspired by Jesus' Son by Denis Johnson, The Waves by Virginia Woolf and Fever Dream by Samanta Schweblin. The lyrics are a collection of little thoughts that were pacing in my head. We worked hard on rebuilding the tones of our arrangements and we brought a bigger electronic component to the music. With the addition of modular synths, we able to find a warmer and more touching approach to the electronics, that feel as acoustic as the rest of the instruments and move like liquid. Basically, I went back to school for the last two years to be able to bring something new ha-ha. Andrew Barr from the Barr Brothers joined us on drums for this record, it’s a pleasure to play music with such a great musician. Better in the Shade Height of the Feeling Ode to Vivian Little Moments Blue La La La La La Stay
Through powerful & intimate music, Oh Wonder's dual project "22 Break / 22 Make" combines a turbulent period in the duo's story (pain, sadness, loneliness, fear of the future) w/ a new chapter as they married & did the work to allow their love to flourish. By opening up to fans & to each other, the `Make or Break?' poised by `22 Break / 22 Make' is not so much a question, as an active choice - to be as honest as possible, to move forward, & to begin a brand new chapter in the story of Oh Wonder.
Bonny Light Horseman’s self-titled debut was a folk masterclass, reimagining centuries-old standards with effortless grace and wonder. Those Grammy-nominated, list-topping recordings not only suggested renewed possibilities for aging songbooks but also marked the arrival of a trio fully capable of reorienting the wider folk landscape. Still, if it felt at all like the work of some short-lived supergroup or a one-off diversion (it never was), Rolling Golden Holy rebuffs the notion with preternatural beauty and charm, and imagination.These songs, all originals, follow the paths of the traditional tunes the band cherishes to new frontiers, the sounds and situations of history given the gravity and shape of now. This is a band working at the edge of modern folk.
After the release of their debut, Anaïs Mitchell, Josh Kaufman, and Eric D. Johnson began discussing their next steps, loosely planning on writing and recording stints. Those sessions were delayed for all the unpredictable but now-familiar reasons until the Spring of 2021, when the trio reconvened with their families in tow in upstate New York. Their chemistry remained intact. Johnson’s wife Annie had listened to him work with dozens of collaborators over the decades, but, listening in from one room over, she noted he’d never seemed so at ease and productive as he was with Kaufman and Mitchell in Woodstock. They were perfecting “California,” a timely and incorruptible classic about moving on in search of something else, something more. These sessions were a series of “yes, and” encounters, each one encouraging the others to take an idea and run with it further to the new safety net they’ve built together, for one another.
These songs continually suggest and embody an unspoken continuum between traditional and modern folk. Mitchell finds self-sustaining adoration in steamy backseats, nighttime visions, and seasonal storms during “Summer Dream,” crisscrossing generational symbols to tie past, present, and future into a Gordian knot of devotion. Johnson reaches back to 19th-century wartime on “Someone to Weep for Me” to empathize with someone else descended from “a long line of nobodies,” just trying to live long enough to feel like he’s mattered to anyone at all, a notion that knows neither age nor border. Johnson and Mitchell trade lines on “Exile,” their luminous response to another of humanity’s eternal conundrums—how to revel in relationships that we know will one day leave us lonely. Love and loss, death and fear: the songs may be different, but the emotional sources remain.
After much enthusiasm that helped foster the band’s self-titled 2020 EP, My Kid Brother are branching out themselves. MAD HAPPY WEIRD SAD, recorded with producer Eric Palmquist (Thrice, Bad Suns, Mutemath), builds on their EP’s polished, hooky rock with heavier riffs ("Roots") and thicker grooves ("High Society"), colorful and quirky arrangements, lyrics that span stalker tales to unfiltered love songs, and choruses that punch with a newfound intensity ("Shoulders").
With over 20 million albums sold worldwide, innumerable accolades and a career that not only spans, but has charted the course of multiple genres, QUEENSRŸCHE remains a force in their own right. “Digital Noise Alliance”, QUEENSRŸCHE’s 16thstudio album (out October 7th) and fourth to be helmed by founding guitarist Michael Wilton, vocalist Todd LaTorre and bassist Eddie Jackson continues the ever-evolving legacy the Bellvue Washington born band began in 1982 when they first took hold of the flame with their hugely received self-titled 4-song EP. Their recent U.S. tour with Judas Priest proved that the band’s time off the road and in the studio only stoked their ambition and fire. Once again teaming producer Zeuss (Rob Zombie, Hatebreed), “Digital Noise Alliance” not only refracts QUEENSRŸCHE’s past accomplishments but also pushes into the band’s future. From the album’s frenetic opener, “In Extremis”, the pensive, “Forest” or “Behind The Walls”, which echoes QUEENSRŸCHE classics and genre-defining albums including “Operation: Mindcrime” and “Empire”, “Digital Noise Alliance” is QUEENSRŸCHE effortlessly moving from strength to strength: immediate and thought-provoking. Quintessentially QUEENSRŸCHE.
Indigo Sparke’s majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It’s a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work—it’s a complex collection that expands her sound and outlook.
Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album’s 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). “Originally we were going to co-write, but after he heard my demos he said, ‘There’s so much in here already,’” Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmailyand drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life.
Centering Sparke’s powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album’s lungs, giving every note breath. From the pulsing immediacy of “Infinite Honey” to the soaring “God Is a Woman’s Name” and “Hold On”’s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one’s inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building “Pressure in My Chest” and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. “Set Your Fire on Me” builds and bursts not unlike Angel Olsen’s own raw folk-rock expressionism—and then there’s the stark opener and first single “Blue,” which acts as a cosmic road map for Sparke’s own journey in life.
Dungen, torch bearers of Sweden’s rich and fabled history of pastoral psychedelia, return with En är för mycket och tusen aldrig nog, the band’s first full-length album since 2015’s Allas Sak. Creating their own critical and fervent, fan-based lane for guitar-powered, melodic and magisterial rock ‘n’ roll with their 2004 break out album Ta Det Lugnt, Dungen have since left a staggering array of albums and a prodigious live presence in the embers of their burning wake. En är för mycket och tusen aldrig nog (English translation: "One is too much and a thousand is not enough") finds Dungen’s core four members Gustav Ejstes, Reine Fiske, Mattias Gustavsson, and Johan Holmegard in pure form, their now decades deep collaboration in total focus and elevated to new heights unobstructed by the spirits that once haunted and shaped the band’s music.
Years before forming one of Nashville's most genre-bending bands, the members of Judah &the Lion grew up in separate corners of the U.S., listening to every type of music that came their way. They loved it all: the twang of folk, the beat of hip-hop, the drive of rock & roll, the punch of pop. Later, after college brought all four musicians to Tennessee, it only made sense to combine those different backgrounds # and different sounds # together. With their second full-length album, Folk Hop N Roll, the guys shine a light on the place where their influences overlap. It's a wide-ranging sound, with fuzz bass, hip-hop percussion, distorted banjo riffs, and super-sized melodies all stirred into the same mixing pot. There's no boundaries, says frontman Judah Akers, who shares the band's lineup with drummer Spencer Cross, mandolin player Brian Macdonald, and banjo wiz Nate Zuercher. We wanted to make something raw, something with attitude. We all grew up loving these hip-hop beats, so why not make an album that has the grit of Run DMC or Beastie Boys, along with all the folk instruments that we play?
Written and recorded in the midst of a dizzying stretch in which nearly everything about the way the band lived and worked was turned on its head, The Garden is indeed a work of relentless hope. The songs are profoundly vulnerable here, and the performances are warm and breezy, calling to mind everything from Andy Shauf and Cass McCombs to Beck and Tame Impala with an easygoing demeanor that belies the deep emotional work underpinning them.
Motel Radio generated early buzz in their adopted hometown of New Orleans on the strength of their 2015 debut EP, Days & Nights, which helped land them dates with the likes of Kurt Vile and Drive-By Truckers in addition to festival slots at Firefly, Jazz Fest, and more. The band followed it up with the similarly well-received Desert Surf Films in 2016 and their first full-length, Siesta Del Sol, in 2019, touring the country on a seemingly endless loop as they built up their devoted following one night at a time.
THE BEST ALBUM SINCE LIFE’S A BEACH. Upgrade your life and enrich your ears with 15 new tracks from easy life, laid out over 45 blissful minutes. The new album features the songs “BEESWAX” and “DEAR MISS HOLLOWAY” featuring Kevin Abstract. The full tracklisting and feature list will be revealed soon – you will not be disappointed. Indie Exclusive Pink LP.
9 LP set is pressed on 180-gram vinyl and housed in a rigid outer slipcase. Includes 5 embossed art prints of each of the covers. Vinyl cut by Bernie Grundman.
The Studio Albums 2009-2018 is a collection of Mark Knopfler’s studio albums, plus a collection of studio B-sides, bonus tracks, and 2 previously unreleased songs (“Back In The Day,” “Precious Voice From Heaven”). Audio overseen by original mastering engineer Bob Ludwig at Gateway Mastering.
Hailing from Los Angeles with an arsenal of songs as varied as the American landscape itself, PJ Western creates music of contradictions. His tripped out pop-rock psychedelia evokes a haze of 60’s AM radio as heard emanating from someone else’s car window. Here I Go, Western’s debut album, recorded during the lockdown we all endured, was written in dreams. In visions. Wild but refined, classic but modern. The album is a lot like the man who wrote it: complex, celebratory, grateful. Recorded in LA with the help of some of the finest musicians the city has to offer, Here I Go offers a perspective of the city as heard through the ears of a precocious outsider – someone who may call the city home, but also can’t quite shake the suspicion he might not belong in the Hollywood Hills surrounding him.
Indie Exclusive Blue Edition, comes w/exclusive flexi disc ft. cover of Yeah Yeah Yeahs Maps
There’s a line on Honey, the latest album from Nashville-via-NYC songwriter Samia, about Aspen Grove, a collection of 40,000 trees in the plains of North America, all connected by a single expansive root system. There’s no stronger metaphor for the audience the 25-year-old empathy engine has been generating since she began releasing music seven years ago. Her songs, her fans, her friends: one enormous, interconnected ecosystem. Honey, comprised of eleven new moments of catharsis, is by and for that organism. Set for release on January 23rd 2023 via Grand Jury Music, the album was recorded at North Carolina studio Betty’s –- owned and operated by Sylvan Esso’s Nick Sandborn and Amelia Meath, frequent touring partners of Samia’s. It was produced by Caleb Wright, part of the team that helmed Samia’s breakthrough 2020 debut The Baby, and a founding member of one of Samia’s favorite bands, The Happy Children. It features some of her nearest and dearest friends: Christian Lee Hutson, Briston Maroney, Jake Luppen, Raffaella. Its songs were surreptitiously road tested for her devotees while opening for Lucy Dacus, Courtney Barnett, and more. The end result is what Samia calls simply “a real community record.”
North Georgia Rounder is strongly related to Pony Bradshaw's last album (Calico Jim) but also stretches its legs into different territory. Place/region/localism/history has been a focus of Bradshaw's over the past few years and he has continued that focus with North Georgia Rounder. But as the album title (Rounder) suggests, it’s also about life on the road: in taverns, in vans, sleeping on floors, meeting good folks, etc. Bradshaw notes how he longs for a well-ordered life and acknowledges the struggle to reconcile that instinct with spending half of it on the road. “But stories need to be told,” he said, “and somehow I’ve finagled my way into a position to tell a few."
SG Lewis’ second album, AudioLust & HigherLove, shows the songwriter, multi-instrumentalist and producer creating an expansive and ambitious record made of two halves: on one end of the spectrum, he crafts the kind of nocturnal bangers that dancefloors, underground raves, pool parties, and festivals subsist on. On the other end, he accesses a higher level of timeless pop ecstasy anchored by just the right amount of breezy, hook-laden rock, organic instrumentation, and vocal eloquence.
Illiterate Light thrives on subverting expectations. Though just a duo, the Harrisonburg, Virginia-based singer-guitarist Jeff Gorman along with Nashville, Tennessee-based drummer Jake Cochran make surprisingly pummeling and thoughtful alternative rock. Since the band’s 2015 inception, they’ve intently focused on their unorthodox live show with Cochran standing behind his kit and Gorman playing synth bass with his foot as he sings and strums his guitar. Fiercely egalitarian and independent, the two not only split up songwriting duties and arrangement ideas, they even built bike-powered stages: bringing the fans into the live experience and envisioning a greener future for shows.
But with their latest album Sunburned, out January 27 via Thirty Tigers, Gorman and Cochran have turned their attention inward to their songwriting and studio craft. It’s their most fully-realized and ambitious LP yet, one that’s full of immediate songs that update and revolutionize the band’s approach to making music. There are rich keyboard and programmed percussion textures now populating their songs, as well as soaringly anthemic choruses, and hefty doses of fuzz. “On our first record, we were very live-focused and wanted to make sure whatever we were writing was translated in person,” says Gorman. “Without that crutch, we could be more adventurous and take more risks. We definitely weren’t timid in the studio.”
As their writing started, Gorman’s father died after a years-long battle with multiple system atrophy (MSA). While his grief was devastating and palpable, it also gave him clarity and newfound motivation. “These songs aren't about my dad dying but there’s been such a shift in my own life that my own writing took on a certain fearlessness,” says Gorman. “I saw the thin veil between life and death and I realized there's nothing to be afraid of anymore. I wanted to embrace the things I love and the weird things that'll come to us in life. My grief found its way into the record, sonically and emotionally, but not topically.”
The songs on Sunburned find their resonance in dichotomies, the connection between light and dark, life and death, and heaven and hell. Gorman and Cochran work best in contradictions, gray areas, and difficult questions that don’t have easy answers. On single “Fuck LA,” what looks like a kiss-off to a major city is actually an anthem for the homesick as Gorman sings, “Wherever you are / Fuck that place / And come back home.” Meanwhile, “Feb 1st” captures the other side of the coin: the desperation of being stir-crazy cooped up at home. Gorman snarls, “So take me somewhere I’m a stranger / Yeah take me back to Santa Fe / And show me faces unfamiliar / Yeah show me somebody like you.”
Sunburned is an album for searchers, the people who channel the darkest energy into something healing and positive. Even on songs like the adventurous and experimental “Hellraiser,” which takes on a menacing undertone in its lyrics, Illiterate Light presents it in a way that’s universal and inviting. “This record was all about chasing a gut feeling and going for songs that had more depth and darkness and pain,” says Gorman. “We'd rather share what we're really going through and let that come out.”
Bryan Adams has re-recorded a selection of his biggest hits and deep cuts, now featured on vinyl! The 2LP package features 14 tracks including classic hits like “(Everything I Do) I Do It For You,” “Summer of ‘69” and “Heaven.” Side D features an etching.
Indie Exclusive * First time on colored vinyl * Damon’s Song Of A Gypsy is generally regarded as one of the finest privately-pressed psychedelic rock records and has, for over twenty years, been one of the most sought after late 60s American rock artifacts. Bad bootlegs and scrappy reissues have spread his music, but left Damon’s story untouched, leaving Song of a Gypsy high on its own plateau: out of reach and indescribable. Finally, Damon’s story can be told. Under the supervision of Now-Again's Egon and Damon himself, and over a five year period, Song Of A Gypsy has been researched and documented, and has now been pitch-corrected and remastered.
Indie Exclusive * First time on colored vinyl * Based in Indianapolis in the early 1970s, the group released only two obscure 45s in their recording career. Birthed from the same scene as the Ebony Rhythm Band, Amnesty had a political edge similar to LA Carnival and the hardest brass section since The Kashmere Stage Band. In 1973 Amnesty recorded five hard, vocal funk numbers alongside some ballads and a handful of demos based around nothing more than guitar accompaniment. Only two songs were ever released; Amnesty's biting, difficult-to-categorize prog/rock/soul/funk stretched far beyond Indianapolis's bounds and the band didn't have a label to take them to the next level. Five decades after they were recorded, these songs are funk arranged with dangerous complexity and performed with precision - arguably the most unique funk to originate from Naptown, and some of the best music of it's kind.
After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.
As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies.
Recorded in its entirety at Carpenter’s home studio and Davies’ studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date.
The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter’s other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score’s more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax.
Fan favorite dark dance outfit Boy Harsher have contributed a sumptuously eerie track for the David Gordon Green directed finale to the iconic Halloween franchise. Sacred Bones and Nude Club (Boy Harsher’s imprint) are joining forces and releasing a proper 12” maxi single containing four versions of the track “Burn it Down,” to be released in tandem with the original score provided by John Carpenter, Cody Carpenter, and Daniel Davies.
Boy Harsher said of the experience: “During an extremely brief period of rest between tours, we got this call from the music supervisor of Halloween. The director, David Gordon Green, had listened to our music and wanted to use something for the final installment in the trilogy - Halloween Ends. We flew to New York the next day to meet the team and discuss the possibilities. It was totally surreal. Obviously we’re huge fans of Carpenter and the franchise is a fav, but to work with Gordon Green was also so special, his early films (George Washington, Undertow, Snow Angels) were heavy influences on our work. The real kicker is that Halloween Ends was shot in Savannah, GA - the birthplace of Boy Harsher and where we met. Unbelievable. It all felt too synchronous, and we knew we had to make something work although we were about to leave for a multi-month tour that week. We flew home to Massachusetts, dug through old demos, and found Burn It Down. In the end it was the perfect energy for the bittersweet love affair between Allyson and Corey, so during a couple days off - we cleaned it up and made it come alive."
Rowntree came to prominence as a founding member of the rock band BLUR, one of the most successful British bands of the last two decades, Blur have won a total of five BRIT Awards, and were twice nominated for the Mercury Music Award.
Announcing their debut album Leisure in 1991, Blur continued to revolutionise the sound of English popular music with second release Modern Life Is Rubbish (1993). Five successive UK #1 albums followed - with Parklife (1994) and The Great Escape (1995) helping to propel the band to mass popularity in the UK and beyond. The eponymous Blur was released in 1997 and seventh album Think Tank (2003). In 2015 the band returned with The Magic Whip It was the band's first studio album in 12 years.The album received acclaim from music critics. It debuted at number one on the UK Albums Chart, marking Blur's sixth UK number-one album. It has been certified Gold.
In recent years, his film and TV composing work has included soundtracks for Netflix sci-fi series The One and BBC One’s technological crime thriller The Capture.
Darker and more danceable and demonic than 2021’s “Huffy,” We Are Scientists’ new album “Lobes” features the singles Operator Error, Settled Accounts & Less From You. On their second self-produced outing, the band’s assurance and perversion have blossomed. Limited edition, 140g Cathode Blue translucent vinyl available exclusively for indie record stores.
The Murder Capital’s second studio album Gigi’s Recovery, produced by John Congleton, will be released on January 20, 2023 via Human Season Records. The black LP will be housed in a printed inner sleeve in a single-pocket jacket. Painting by Peter Doyle and designed by Aidan Cochrane.
While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn’t get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. “Encountering this whole new world at 20 years old was a profound experience,” says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. “At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since.”
As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen’s first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050’s design work and blog, it pays tribute to Tycho’s prismatic past (the dense, guitar-guided turning points of “Daydream” and “Adrift”) but spends most of its time pointing to the project’s not-so-distant future.
From the East End of Glasgow, Joesef, is modernising soul music through jazz inspired lo-fi pop instrumentals, all from his bedroom. Crafting personal, love-lorn songs of heartbreak that evoke a sense of nostalgia, Joesef has been creating a soundtrack to moments of intimacy.
Calling himself “an emotional sad boy”, the frankness of Joesef’s lyrics are unflinchingly self-aware and are an honest insight into his life experiences & relationships that connects him to a mass audience.
Joesef owes the emotional transparency of his music & his confidence in his sexuality to Glasgow’s liberality.
“I’ve been with girls, I’ve been with boys. I feel like now is the best time to be that kind of person. In Glasgow, people are more likely to slag your shoes than your sexuality. Glasgow is so vibrant and colourful. You can be whoever you want to be, and you won’t get hassled for it.”
In just three remarkable solo albums Margo Price has cemented herself as a force in American music and a generational talent. On her fourth full-length Strays, recorded in Topanga Canyon and produced by Jonathan Wilson, the singer and songwriter presents a clear-eyed mission statement delivered in blistering rock and roll. Margo Price has something to say, and nothing to prove.