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Banditos [Banditos]

May 12 street date. With the rugged power of a flashy Super Chief locomotive, the Banditos’ self-titled debut album bodaciously appropriates elements of ‘60s blues-fused acid rock, ZZ Top’s jangly boogie, garage punk scuzz a la Burger Records, the Drive-By Truckers’ yawp, the populist choogle of CCR, Slim Harpo’s hip shake baby groove, gut bucket Fat Possum hill country mojo and the Georgia Motherf**king Satellites. From backwoods bluegrass, to slinky nods to Muscle Shoals soul and unexpected bits of doo-wop sweetness, the Banditos recall many, but sound like no one but themselves. Their self-titled debut full-length album is layered with as much grime as it is with pinpoint songwriting and feverish technical savvy, each song wafting new dynamics into a streamlined stylistic roots, punk, and rock ‘n’ roll jet stream. Through a roaddog touring schedule, playing over 600 shows in the last three years, this Birmingham-by-wayof-Nashville six-piece has honed a unique and airtight sound, and strengthened their singular musical vision into a force to be reckoned with. “One of the ‘12 Alabama Bands You Should Listen To Now.’” - PASTE // “For fans of honest, gritty southern rock n’ roll.” - AMERICAN SONGWRITER
Biafra, Jello [Walk On Jindal's Splinters]

May 12 street date. Here it is at last! The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello’s request) garage songs! Joining in were piano Wildman Pete “Wet Dawg” Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose? We got loose! You want crazy? That’s here, too. Walk on Jindal’s Splinters is one of the all-time great “you are there” high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans’ finest, just playing their asses off and having a good time doing it. The album also showcases a whole ’nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington’s Hipsters, Flipsters… series, Swingin’ Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!
Brian Jonestown Massacre [Musique de film Imagine]

April 28 street date. Available on 180 grm pink coloured vinyl LP. Musique de film imagine is a soundtrack that pays homage to the great European film directors of the late 50’s and 60’s, such as François Truffaut & Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of the Brian Jonestown Massacre for an imaginary French film. Guests on this daring symphonic experience are French chanteuse and multi-instrumentalist SoKo and Italian actress, singer and director Asia Argento. SoKo is signed to Because Music and her track ‘We Might Be Dead by Tomorrow’ was featured in the viral video ‘First Kiss’, which has garnered over 63 million views and debuted at number 9 in the Billboard Hot 100 last year. Asia Argento, who has starred in music videos for Marilyn Manson, Placebo and Tim Burgess, recently wrote the storyline for ASAP Rocky’s music video and short film ‘Phoenix’, which has had over 5.5 million hits. Both vocal performances are in French. Anton Newcombe recorded Musique de film imaginé in Berlin in August 2014, after a successful European tour for the Brian Jonestown Massacre.
Calexico [Edge Of The Sun]

April 14 street date. For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 14th, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way. The first outside invitation came when the band’s Joey Burns was writing the track 'Bullets and Rocks' and recognized space for a former Calexico collaborator. "When putting vocals on that song, it immediately reminded me of the Iron & Wine feel," says Burns. "So I texted Sam (Beam), who wrote back quickly and got it going." Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns’ brother John Burns lent a hand to some lyrics and songwriting, and the band’s keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher. Negotiating borders and the spaces within, then inviting others inside those edges: may be the recipe for Calexico’s success. As its empire expands and the familiar pieces join with fresh ideas and a new cohort to pass under wires and across fields and time, the band now finds itself here in 2015 on the solar precipice, navigating the edge and trying to find hope in that balance of darkness and light. "The ‘edge of the sun’ could be coming from the direction of darkness seeking light, or riding the line between both," says Burns. "All in all, this album is about pushing through the blue to brighter days. Calexico has always had that element of hope, going back and forth between a positive outlook and embracing desperate or dark themes that I think we all share."
Clear Soul Forces [Fab Five]

April 28 street date. Detroit’s Ilajide, E-Fav, Noveliss & L.A.Z. (aka Clear Soul Forces) armed with an arsenal of thunderous beats from rising producer NAMELESS combine to form the Fab Five. The group’s vision - combining Golden Era rhymes with a contemporary style - is as clear as ever here, heightened by their collective synergy with Nameless, who handles the majority of the production on the LP, reprising his role as producer to Clear Soul Forces from "Unlimited Bounce", a highlight off of their last full-length, Gold PP7s. Fab Five ushers in a new era for Detroit’s storied musical tradition - the city that produced Motown, Jay Dee and Eminem has seen a revival of late, with the likes of Black Milk, Danny Brown and Royce Da 5’9" weaving the city’s rich history into their work in increasingly inventive ways. Clear Soul Forces & NAMELESS continue the tradition nodding to the Motor City’s artistic legacy while carving their own path. With production by NAMELESS and raps by the four Detroit emcees, the Fab Five are here to save Hip Hop the only way possible, with quality rhymes over quality beats. The follow up album to their critically acclaimed Fat Beats Records LP "Gold PP7s". Released the hit single "Get No Better" (with over 5 million+ YouTube views).
Cronin, Mikal [MCIII]

May 5 street date. (well..May 4th) On May 4, Mikal Cronin will return with MCIII. Marked by the lush arrangements, stunning melodies, and deeply personal lyrical work for which Cronin is now known, the album is also a deliberate attempt to simply “go big.” As he did on his self-titled 2011 debut and 2013’s MCII, Cronin arranged and played nearly all of the record himself, including the tzouras, a traditional Greek string instrument he heard and subsequently bought while on tour in Athens. There’s French horn, saxophone, and trumpet. There are mood-altering crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and pugnacious. No longer satisfied with the sound of “just one string player,” Cronin arranged parts for a full string quartet instead. “It’s a continuation of what I’ve been trying to do up until now, but I’m finding a better way to do it,” he says. “I’m finding a more successful way of working those unexpected elements and textures and instruments into a rock record, of exploring that wormhole and mushing everything together harmoniously. I like riding the line between the two,” he adds. “I like finding new ways to bring different musical worlds together.” (LP in Gatefold jacket - Includes download)
Death [N.E.W.]

April 21 street date. Since the discovery of Death in 2008 and the release of the archival LP ...For The Whole World To See, the story has been often told. Three African-American brothers, David, Dannis and Bobby Hackney, tapped into the surging energy of their hometown rock-and-roll scene (mid-70s Detroit) to produce a style and a set of songs that, while completely unappreciated in their day, proved later to be a powerful missing link in the evolution of punk rock. All this was predicted by their leader, older brother David, on his deathbed, ten years before their rediscovery. His stubborn insistence on keeping the name Death instead of signing a record contract under a more palatable name is, in itself, a defining act of true rebellion. The power, precision and passion of the music says everything else that need be said. It has been an EPIC time since 2008: Death began playing live again to large and grateful audiences, meanwhile issuing two additional archival records, Spiritual-Mental-Physical, and Death III. The release of the documentary A Band Called Death took the band farther into the public consciousness than it appeared even the music could, and Death followed the paths to more and more listeners, eventually bringing their explosive show all around the world. During this time, the question always asked was, Will there be a new record? Now, there literally is, and Death and Drag City are proud to bring it to you, entitled simply N.E.W. Inspired by the positivity brought to them by ever-increasing numbers of new fans, the current performing Death (Bobby Hackney, Dannis Hackney, and Bobbie Duncan) completed several songs started back in the late 1970s by Bobby and David, as well as composing entirely new songs that continue the timeless vibe, feel and resolve of Death with remarkable drive and vigor. For many years after disbanding the original Death, Bobby and Dannis played different styles of music, but with the same deep spiritual investment. Bringing that spirit back to Death, their ability to make new songs in the same vein is fantastic. N.E.W. surveys the whole Death story, making a statement that screams to the soul, even when reviewing the tracklisting. That statement says: If you want RELIEF, LOOK AT YOUR LIFE, it’s the STORY OF THE WORLD in THE TIMES that we are living in, things moving so fast. It’s PLAYTIME, but remember we are AT THE STATION where we must ask ourselves WHO AM I? Well, YOU ARE WHAT YOU THINK, preparing for a RESURRECTION, which will bring about CHANGE. Time once again for DEATH!!
Frahm, Nils [Solo]

April 14 street date. Berlin-based composer and pianist Nils Frahm celebrates the first annual Piano Day (March 29, 2015, the 88th day of the year) with the release of Solo. The group behind Piano Day, made up of Frahm and his closest friends, plans to support various exciting, piano-related projects; the first of these is the building of the world's tallest piano, the Klavins 450. As the life-long dream of David Klavins, it will exceed the current record-holder, the Klavins M370. Located in Tübingen, Germany, the M370 weighs 1.8 tons, stands 12.14 feet tall, and boasts strings up to about 10 feet in length. It was on this piano, in one sitting, that Frahm recorded the eight improvised piano motifs that form Solo. Once recorded, Frahm began to think of ways to release the album as a gift to his fans, and came up with Piano Day. Solo was made available as a free download on Piano Day 2015, as a way of easing Frahm's fans into sharing their money for the Klavins 450 project. All direct donations and a portion of all record sales will go to the Klavins 450 project until the target has been hit. In his liner notes for the album, Frahm writes, "David got to work in 1985 and finished his instrument two years later. Back then I was five years old, with no idea of how much I would fall in love with it. When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn't know what music, what songs I was about to record in the next three days... The eight pieces featured on this album were selected out of hours of improvising, happy hours... The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as if almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn, and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David's instrument. Words simply don't do it justice, so listen for yourself. With lots of love, Nils Frahm."
Fu Manchu [Daredevil (remastered 2015)]

April 21 street date. A transcendent distillation of Seventies rock heaviness and Eighties punk aggression...what Black Sabbath would sound like with suntans and a fleet of dune buggies at their disposal…the ultimate desert-rock " - ROLLING STONE. Originally formed in 1985 as a Black Flag-influenced hardcore punk band called Virulence, FU MANCHU has since become one of hard rock’s most celebrated names. The band released its first single “Kept Between Trees” in 1990 and in the years following, helped give rise to a celebrated style of heavy music tagged “stoner rock” alongside peers such as Kyuss, Monster Magnet and Sleep.Since its inception, the quartet has built itself a fanatical army of loyal enthusiasts all drawn to the group’s ridiculously catchy, unpretentious music, guitar-driven sound and carefree lyrics centered on “old muscle cars, choppers, vans, skateboarding and science fiction” “Daredevil” was originally released on the now defunct Bongload label, followed up by a re-issue on Cargo’s own Sweet Nothing Records and now gets a digitally remastered re-issue on the bands own label At The Dojo.
Good Riddance [Peace In Our Time]

April 21 street date. After prematurely snuffing out a career that burned so brightly by calling it quits in 2007, GOOD RIDDANCE reignite the embers with the blazing inferno Peace In Our Time. GOOD RIDDANCE are known for helping to mold the melodic/ hardcore genre and for churning out some its most revered albums. Peace In Our Time draws on the most prized elements of GR’s catalog. So much so that it could be described as a “greatest hits” album that is comprised of all new material. Built on a foundation of hardcore, saturated with scorching riffs and bound to GR’s strong sense of melody, Peace In Our Time hits all the high notes of their résumé. The same classic lineup responsible for A Comprehensive Guide to Moderne Rebellion, Ballads from the Revolution, and Operation Phoenix are back at the helm for Peace In Our Time and it’s reflected in the result. GOOD RIDDANCE’s ability to blend thrash-laden, discordant hardcore and aggressive melodic punk into their own signature compound has gained them the respect of their peers, fans, and critics alike. Peace In Our Time will only embolden that sentiment.
McCaughan, Mac [Non-Believers]

May 5 street date. (well..May 4th) On May 4, Superchunk frontman Mac McCaughan will release Non-Believers, his first solo album under his own name. McCaughan wanted to use the album to explore his attraction to that early-’80s era of music when punk evolved into something more introspective, focusing on themes of isolation and eventually turning into post-punk and new wave. As he puts it, he was thinking about a time when bands were “using keyboards and drum machines to relate through their music a disaffection or alienation” from society, school, whatever. The record is about a fascination with art that could only be made by someone far from where you are, but who maybe shares the frustrations and awkwardness of youth. It’s about “the irony that comes with being 16 and having a car but not knowing where to go in it, or having a keyboard or a guitar and not knowing how to play it.” McCaughan’s songwriting isn’t limited to sheer nostalgia; it’s also about the more relatable theme of the point when people who grow up feeling isolated have to choose if and when they are going to join the mainstream, and about the emotional journey tied to weighing those options. “What appeals to me is songs that deal with the messiness and ambiguity that come with any transitional period,” says McCaughan. Given that McCaughan comes from the indie and punk rock worlds, he’s always shied away from the perceived hubris of putting out a record under his own name. “There’s something about it that’s way too ‘look at me,’” the singer and songwriter admits. However, given the fact that Non-Believers explores a very personal set of influences, putting out an album as simply Mac McCaughan for the first time just makes sense.
Milk Carton Kids [Monterey]

May 19 street date. Monterey is The Milk Carton Kids’ third album and the follow-up to their 2013 breakthrough The Ash & Clay. The two years since have been significant ones for the band, with recognition including a GRAMMY® nomination for Best Folk Album and winning Group of the Year at the 2014 Americana Music Awards. Their standout performances and interviews in the Coen Brothers’ and T Bone Burnett’s concert documentary “Another Day/Another Time” brought the duo its widest audience yet, and their 55-city North American tour last Spring sold out months in advance. This time around, Kenneth Pattengale and Joey Ryan wrote and recorded Monterey not in studios but on stages - those concert halls, churches, and theaters across North America that have always coaxed the band’s most uninhibited expressions. Their methodology in making Monterey allowed The Milk Carton Kids, finally, to perform for the record with the same fearlessness and spontaneity usually only achieved in live concert. As writers, the two have merged so singularly that friends and family can no longer tell who has written which song. As singers on Monterey, their acclaimed harmonies move farther apart, so that the quirks and kinks of two individual identities emerge, all the while remaining lush and soaring, their beauty even more apparent for the showing of their scars. Thematically, Monterey takes us on a road trip across a dream - perhaps a nightmare - through an America of blood and fire that is at once recognizably the land of our forefathers, and the product of our own making.
Millencolin [True Brew]

April 28 street date. Swedish skate-punk quartet Millencolin return with their first album in seven years, True Brew. Titled to reflect the tight bonds and egalitarian politics that have kept the original band lineup in place for over 20 years, True Brewis a return to the punk roots that inspired the band’s formation. “Since we started the band we have tried with every new record to explore new ground,” vocalist/bassist Nikola Sarcevic offers. “If the other albums were going further away from where we once were, this one is digging deeper right down in the core of the kind of punk rock the once got us started.” Don’t call it a throwback, though. While True Brew musically draws upon some of Millencolin’s earliest influences like Bad Religion and NOFX through galloping drums and fast, technical riffing, the album lyrically tackles modern sociopolitical issues in ways the band never have before. Take standout track “Sense & Sensibility,” which Sarcevic wrote about the growing problem of nationalist and racist political parties in his native Sweden but could be applied to just about anywhere in the Western world. At the opposite end of the spectrum, the album’s title track is the kind of positive jam fans have come to expect from Millencolin over the years with a message that is universal. “It´s about the struggle of finding freedom and control over your life and trying to live the life you want, no matter if it might be a bit against the grain,” Sarcevic explains. “The message is to follow your heart and be true to yourself rather than taking the road recommended by others.”
Now And On Earth [Blacked Out]

April 14 street date. The scene’s first introduction to new Epitaph signing Now and On Earth was on 2014’s Metalcore Summer compilation, where the track “Intoxicated” drew rave reviews, both from kids at Warped Tour (50,000 CDs distributed on the 2014 tour) and online. Now comes their debut full-length, Blacked Out, with 12 tracks of blistering, anthemic metalcore. With the Montreal-based band set to cross Canada and the US in support of Blacked Out, 2015 will be the summer of Now and On Earth. For fans of Bring Me the Horizon,Asking Alexandria, We Came As Romans.
O'Rourke, Jim [Simple Songs]

May 19 street date. There ARE no simple songs — only simple people. And since guns don't kill people, Simple Songs will have to do. 2015, and the silence has been broken with Simple Songs. Jim O’Rourke is ready to talk to you again. First, he wants you to know he’s not dead — yet. But you’re not, either — and really, what have you done lately? Meanwhile Simple Songs is more than just a first of anything since whenever! It’s an amazing record of musical song entertainment — because Jim O’Rourke knows what he wants and how to get it. . .musically, that is. The rest of the world is still a mystery and a bottomless source of aggravation for the old boy. What do we care? We get a great new album out of it. Yes, Simple Songs is an album of songs sung by Jim O’Rourke all the way through! It has been ten years since Jim’s voice rang out from a new album. It’s hard to believe it has been nearly fourteen years since Insignificance. When that album hit in late 2001, we heard once or twice how it was too bad that it wasn’t Eureka Part 2. Sissies! Then in 2009, when The Visitor returned Jim to the orchestrated instrumental feel of Bad Timing, people wondered when we’d have another album like Insignificance! Grrrr....now, has the world caught up with Jim? Maybe — but only because he let us. The music’s got OCD quality, played so immaculately by so many instruments, and most of them by the creator’s hand. This time’s really the widest screen yet for Jim’s popular song-style, truly breathtaking! Simple Songs was worked over, from source material to finished mix, for five years or more now. Jim’s writing is kinda rooted in the approach of Insignificance — frosted pop tarts that leave a darkly bitter aftertaste. So bilious not even Jim can listen to it all the way through! Fine, it’s not for him to listen to anymore — WE can’t stop from listening. It’s like a beautiful car wreck we can’t look away from or stop feeling AMAZING about. Super fun stuff. Let Simple Songs seep into your brain, as a musical expression and a statement of animal motherhood. It may help you get your bearings in a world gone hopeless. Most of all though, don’t hate this or he’ll go away again for another decade! Jim’s got just what the world needs now — but who needs you?
Pollard, Robert [Faulty Superheroes]

April 28 street date. Neither snow nor rain nor heat nor gloom of night stays Robert Pollard from the swift completion of his latest brilliant record. Faulty Superheroes jets off Pollard’s vinyl-grooved runway like the prototype for some new supersonic power pop fighter jet, and at this point in his career is anyone surprised that the twelve tracks on his latest effort are uniformly awesome? The answer is no. Exactly no one is surprised. The biggest thing with which Pollard has to contend is his own miraculously consistent greatness. That he rarely—if ever—stumbles is some kind of marvel, and perhaps implies superpowers of his own. If you see what we did there. Faulty Superheroes has a tossed-off, effortless magnificence for which the rash of indie-whatevers trailing in his wake from Bee Thousand to the present constantly strive, and fail to achieve. As long as we have Bob, we need nothing else. And we have Bob. If you’re counting your blessings, don’t forget that one. It’s kinda crucial.
Sonic Youth [Bad Moon Rising]

April 14 street date. Sonic Youth’s second full-length LP Bad Moon Rising was originally released on Homestead and Blast First in 1985. The album is a fascinating examination of “the junction where hippie idealism [meets] the cold hard world,” says guitarist Lee Ranaldo, “where Woodstock [meets] Altamont—Death Valley, Charles Manson, Brian Wilson, musicians, murderers, heroes and villains.” Its original eight-song tapestry of droning guitar feedback, distant clattering percussion, and sullen vocals, all held together with interstitial noise loops and shadowy haze, ambles through a long, dark night before the feverish “Death Valley ’69,” driven by runaway guitar riffs and a frantic Thurston Moore / Lydia Lunch vocal duet, pounds the capstone into place. Sonic Youth’s big leap forward from Confusion Is Sex and Kill Yr Idols “reflects the spirit of the time,” to quote All Music Guide. Bad Moon Rising views “American gothic through the glassy eyes of willful moonlit paranoia.” Back in print on Goofin’ Records, this reissue includes bonus tracks “Flower” and “Halloween,” both from a 12- inch single of the same era. The sound collage morsels “Sa- tan Is Boring” and “Echo Canyon” are your cue to begin moving toward the exit and get out while you can.
soundtrack [Ex Machina (2LP) Geoff Barrow & Ben Salisbury score]

May 19 street date. Ben Salisbury & Geoff Barrow (Portishead) join forces for a second time since their creation of DROKK, their unused score for 2012 motion picture DREDD, to create the dark, synth heavy score for EX MACHINA. EX MACHINA is the directorial debut of Alex Garland, the man behind 28 DAYS LATER and SUNSHINE. It stars a trio of rising stars - Oscar Isaac, Domhnall Gleeson, and Alicia Vikander, who portrays a robot built to test the boundaries between humans and machines. The film having been released earleie this year in the UK and the rest of Europe with a release date this month in the U.S has enjoyed rave reviews including Sight & Sound naming it their ‘Film Of The Week’ and the Guardian describing it as a “dazzlingly good-looking technological thriller”. Speaking to Gigwise Geoff Barrow said, "It's been great for Ben and I to be working with Alex again, and hopefully we have written the kind of score an intense sci-fi thriller like this needs" with Salisbury adding "we wanted to slightly get away from the type of soundtrack album that has a huge track-list with lots of short cues. Instead, we've tried to put together an album of fuller length tracks, by segueing some of our cues and creating a structure and shape that mirrors the film in some way.” The EX MACHINA ORIGINAL MOTION PICTURE SOUNDTRACK will be released as a double CD and double vinyl which includes the 10 tracks included in the film and additional CD/LP of bonus material and cues .
Staples, Mavis [Your Good Fortune (EP)]

April 28 street date. In conjunction with the new career documentary film Mavis! which premieres at SXSW Film this spring, ANTI- is pleased to announce a unique collaboration between two generations of ANTI- artists. For the recording of the EP Your Good Fortune, gospel and soul legend Mavis Staples went into the studio with new ANTI- singer-songwriter-producer Son Little, recording two new Son Little original songs, and two vivid reworkings of Staple Singers classics. To hear Mavis’ clarion voice bedded in Son Little’s ancient/modern swirl of swamp guitar and b-boy programming is to discover the knife edge of Mavis Staples’ art.
Thee Oh Sees [Mutilator Defeated At Last]

May 26 street date. Here we have a new batch from Thee Oh Sees for your absorption— nine muscular tunes primed to pummel. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back; Mutilator Defeated at Last has more in common with the monolithic hugeness of Floating Coffin. With only two brief reprieves from its onslaught, this record is made to be played loudly and demands bodily sacrifice. Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous. Synths and acoustic guitars wind throughout the album like veins of gold through granite. Any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best.
V/A [Nick Cave Heard Them Here First]

May 5 street date. Nick Cave- one of the most compelling, uncompromising and influential singer-songwriters of the last 30 years - has never concealed his influences. This edition in our occasional "Heard Them Here First" series offers a view of his career, as seen through the original versions of songs he chose to cover. As Cave’s followers might expect, the CD features music of all genres and eras, from the first-ever recording of Bertolt Brecht and Kurt Weill’s ‘Moritat’ (better known as ‘Mack The Knife’) from 1928, via country numbers by Lefty Frizzell and Cave hero Johnny Cash to gospel by the Pilgrim Travelers and pop from Pulp and Miss Toni Fisher. Other featured artists include Bob Dylan, Leonard Cohen, Nina Simone and the Sensational Alex Harvey Band, all of whom were very influential on Cave’s work. Compiled by Mick Patrick and Cave biographer Ian Johnston, who also wrote the notes.
Wire [Wire (2015)]

April 28 street date. Their 13th studio album - simply titled Wire – comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire’s idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally. From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. “With Matt there was a really new dynamic that had appeared in the group’s sound and that was something we wanted to capture, utilise and be creative with,” says Lewis. Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group’s particular chemistry starts working he is now very much part of the process.. “The point where our personal narratives meet is all about change - moving on and keeping it interesting for ourselves,” says Newman. “We’re in it for the long haul and this is a one-way trip.”

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