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Bon Iver [i,i]

August 30 street date. "i,i" is Bon Iver's most expansive, joyful and generous album to date. If "For Emma, Forever Ago" was the crisp, heart-strung isolation of a northern Winter; "Bon Iver" the rise and whirr of burgeoning Spring; and "22, A Million", a blistering, "crazy energy" Summer record, "i,i" completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known - multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver's fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on "i,i" that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak's Jenn Wasner and the Brooklyn Youth Chorus. Here, the music - and band, and themes, and creative space - are bigger than ever.
Bonnie Prince Billy/Bryce Dessner/Eighth Blackbird [When We Are Inhuman (2LP)]

August 30 street date. On this album, woven between new arrangements of Will Oldham's cryptic songs and the late Julius Eastman's iconic "Stay On It" are several of Bryce Dessner's "Murder Ballades", works that tease out the homicidal strain of old folk tunes. These explorations of violence are natural fits for Oldham, who has always examined the interstices between intimacy and cruelty. Four of his songs appear here in new, sumptuous arrangements by pianist Lisa Kaplan. Oldham compared working with Eighth Blackbird to becoming acquainted with a "haunted house", continually returning to the same spot and observing how his fear was interlaced with a charged energy. The arrangements push Oldham's voice to new heights, as in the ecstatic refrain of "New Partner" or the lithe polyrhythms of "Beast For Thee. On "One with the Birds" and "When Thy Song", shimmering introductions deploy avant-garde effects as a window into Oldham's bleak, poignant sound world.
Cameron, Alex [Miami Memory]

September 13 street date. Alex Cameron's newest and most musically expansive LP, the glistening "Miami Memory", takes a surprising turn. Cameron's flair for narrative and character are still on full display; yet the album's most frequent narrator is, for the first time, Cameron himself - singing with stunning candor of his three-year relationship with visual artist and actor Jemima Kirke. Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of "Miami Memory", produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ.Cameron's dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular "stepdad" rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power.
Ghostface Killah [Ghostface Killahs]

September 6 street date (CD)/September 13 street date (LP). "Ghostface Killahs" marks the return of Ghostface. After several side projects, GFK returns with his first true solo album in years. He is joined by fellow Wu-Tang members Method Man, Inspectah Deck, Cappadonna, Masta Killa, and others. This album sounds like vintage Ghostface and will prove worthy amongst any true Hip Hoppers. Proving the Wu-Tang is truly forever, this is a must for any Wu fan as well as every Ghostface Killah fan. The veteran wordsmith, known for his prolific and versatile catalogue, delivers another classic album to the Ghostface and Wu-Tang legacy.
Here Lies Man [No Ground To Walk Upon]

Please note new street date: August 23. (Black Sabbath-meets-Afrobeat band return after two critically acclaimed albums with their next step on the way to conquer riff-based rock • Features members of Antibalas • Rough Trade named their 2017 debut one of the best albums of that year). Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat? Since that time, they have expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past two years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018. No Ground to Walk Upon is their third album. It continues with an ongoing concept of playing a soundtrack to an imaginary movie, with each song being a scene. Rough Trade named Here Lies Man in their prestigious Top 10 Albums of 2017. BBC 6 and Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. 2018’s You Will Know Nothing furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers. This latest album is the next step in the band’s rapid ascent to what is bound to be influential upon riff-based rock.
Hieroglyphics [3rd Eye Vision (20th anniversary edition)]

September 6 street date. Deluxe reissue celebrating the 20th anniversary of Hieroglyphics' first studio album. Out of Oakland, a collective known as Hieroglyphics were positioning away from industry control, to helm their own assets in manners more suited to their own marketing self-vision. Born out of this independent spirit was the crew's first official studio album "3rd Eye Vision". The album spans 22 songs, all featuring beats by Domino who manned the lion's share of production. A-Plus, Opio, Del, Casual, and Phesto also contributed beats. MCs each had their own song, short interludes highlighting their individuality through short verses, a clear espirit de corps statement. Perhaps the most celebrated song off the release is "You Never Knew", a track that propelled "3rd Eye Vision" to #88 on the Billboard Top 200, not an entirely easy feat as a new label competing with the late '90s abundant onslaught of classic material. Hiero Imperium are proud to present this reissue in deluxe packaging, with expansive liner notes and the full original album tracks and a bonus for the very first time in one package.
Hitchcock, Robyn & Andy Partridge [Planet England EP]

September 6 street date. 4 track EP from two of the UK’s finest songwriters, comes the first recordings from their recent collaborations. Planet England represents a unique coupling on dazzling form.
House Guests [My Mind Set Me Free]

August 23 street date. A slab of Cincinnati hard funk slammers, reissued (legally) for the first time! Post JB's/pre-P-funk outfits headed up by brothers Catfish and Bootsy Collins along with a Cincinnati who-who's of top club players who could turn it out night after night after night in places like The Psychedelic Grave or The Round Up Club that featured a caged bear in the club!
HTRK [Venus In Leo]

August 30 street date. The fourth album from HTRK, the duo of Jonnine Standish and Nigel Yang, arrives five years on from 2014's "Psychic 9-5 Club". While some much-loved HTRK hallmarks remain - the combination of space and intimacy, the unmistakable interplay between Yang's guitars and effects and Standish's vocals - "Venus In Leo" comes with its own sonic palette, marking a new chapter for one of the most distinctive bands of the past decade. Where HTRK's early material was scuzzy, then dubbed-out, now Yang's instrumental arrangements are brought to the surface, covered by nothing more than a fine gauze. On "Venus In Leo", Standish's vocals are crisply rendered, with songs about jealousy, longing and (anti) wellness: recipes for the drama that simmers just below the surface of mundane suburban life.
Joyero [Release the Dogs]

August 23 street date. Written and recorded primarily in Marfa, Texas, during a transitional moment between records, cities, and relationships, Release the Dogs occupies it's own liminal space between the natural and the man-made, between the structures we create to keep ourselves safe and the terrifying enormity that exists beyond them. Throughout the record, organic and electronic elements are seamlessly woven together into a single fabric that can be both intimate and explosive. The fingerpicked guitars of "After You" appear no more or less "real" than the processed drum machine beats on album opener "Alight," just as the tarantula on the album's cover appears no more or less "real" than the white wall on which it sits. The magic of the image, and the magic of the record, is in the way they are framed together. Release the Dogs finds it's own unique voice by holding opposing ideas and aesthetics in tension with each other, and inviting the listener to find their own answer.
Kindness [Something Like A War (2LP-black vinyl)]

September 6 street date. Kindness returns with their third full length album, titled "Something Like A War". The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Produced entirely by Bainbridge, the record is a collection of works representing a period of reflection and transformation over the course of 4 years following their second record "Otherness". Kindness has remained busy since "Otherness", working across several projects: they co-produced five tracks on Solange's album "A Seat at The Table", and contributed production, writing, and vocals to Blood Orange's "Freetown Sound" and "Negro Swan" albums in addition to production on Robyn's latest album "Honey". Guest vocal features include Robyn, Jazmine Sullivan, Seinabo Sey, Bahamadia, Cosima, Nadia Nair, and Alexandria among others.
L'Epee [Diabolique (Anton BJM/Liminanas/Emmanuelle)]

September 6 street date. This is the debut album release from L'ÉPÉE , the band are Emmanuelle Seigner (Ultra Orange & Emmanuelle) , Anton Newcombe (The Brian Jonestown Massacre) & Lionel & Marie Liminana (The Liminanas) . It is very rarely that a musical project lives up to the billing of being a ‘supergroup’. However, the exception to this rule comes in the shape of L’Epee. A stellar combination of the talents of The Brian Jonestown Massacre’s Anton Newcombe, cinematic femme fatale Emmanuelle Seigner and ice-cool pop provocateurs The Limiñanas (Lionel and Marie Liminana), L’Epee transcend artistic and traditional borders. “We are living in very culturally insular times, so it feels really good to be swimming against the tide,” says Anton of the band’s bi-lingual, cross-continental approach.“There’s something really positive about branching out, collaborating and taking risks.” Far from being defeated by a world seemingly regressing into turmoil, L’ Epee’s strength comes from a long history of challenging the status quo. From Anton’s legendary battles with ‘The Man’ with The Brian Jonestown Massacre to Emmanuelle’s eclectic screen career to The Liminana’s community-minded ethos- setting up their own record shop, L.G.D.C, and promoting gigs by the cream of the world’s garage rock scene ( New Bomb Turks, Oblivians, Fleshtones, Revelators) -they share a fierce intelligence and an outsider aesthetic which, over the decades, has been sharpened to a razor’s edge. Fitting, then, that their name translates as The Sword.
Mean Jeans [Gigantic Sike]

August 30 street date. Since forming in 2006, Mean Jeans have become one of the better-known bands of the Pacific Northwest punk scene for their chaotic but relentless attack, raucous live shows, and fierce commitment to the art of partying. "Gigantic Sike" is Mean Jeans' fifth full-length and falls into the same category as their prior albums - three-chord, heavily Ramones-influenced party punk, but with a bit of a twist. While the songs are fun and fast, there is a darker story being told of the bleak existence of a party boy. Each of the 11 tracks have an element of sadness and cynicism to them.
Oh Sees [Face Stabber (2LP)]

Please note new street date: September 13. Hey there, human kids, lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies—the latest Oh Sees, Face Stabber! Boop, blip, ughhh….people churning like a boiling swamp. Man, this din is nauseating. The screen flickers for the first time this year with a transmission from two months in the future: “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!” This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf. No songs about money or love are floating in the ether. Just memories, echoes, foggy blurs, blip-blop goes the scope, heavy funk, dystopia-punk canons, long jams, bloated solos dribbling down your caved-in chest. Human cattle like a beef avalanche, right on your burned out face hole. Spider-legs fuzz crawling in your brain. Lots of curse words for your mom. You’ve gotten the over-population blues, so let’s have some art for art’s sake. What else are you gonna do? Stare at the sky? Please…fifty carbon copies of you look back at you as you walk the streets. Take a breath, you’re going to need it. Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough. There’s no fruit, buddy. You’re at the bleak-peak. They will squeeze you till you’re all squeezed out. (For fans of fried prog burn-out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings. If you don’t like it then don’t listen, bub. Back to the comments section with you! Easy—over and out.)
Perri, Sandro [Soft Landing (180g)]

September 6 street date. It took seven years for Sandro Perri to return with an album under his own name, releasing "In Another Life" ("his outsider pop masterpiece" - Exclaim) in the fall of 2018, as the much-anticipated follow-up to his acclaimed full-length "Impossible Spaces" (#38 album of 2011 at Pitchfork, among other accolades). But the Perri floodgates have now well and truly opened: the flow of sparkling, eddying music he's been meticulously doling out of late (including two recent volumes of collaborative avant-electronic work with his Off World project) charts another vital, rejuvenating tributary with "Soft Landing". Rounding up songs he's been toying with for the better part of the last decade, Perri enters his third decade of music-making with this lovely, langourous collection of subtly detailed soft rock - his most guitar-based album since 2007's "Tiny Mirrors".
Redd Kross [Beyond the Door]

August 23 street date. Redd Kross invite you to explore Beyond the Door, an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “the Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge. Beyond the Door marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer.
Sheer Mag [A Distant Call]

Please note new street date: September 13. Sheer Mag return with their sophomore album, A Distant Call. They’re still writing about surviving the current hellscape, but this time around, the politics get extra-personal. The album verges on being a concept piece, and the protagonist resembles frontwoman Tina Halladay. The songs document a particularly alienating time in her life when she was laid off from a job. Broke and newly single, her father passed away, leaving her with more wounds than it felt possible to heal. It’s heavy power-pop so sleek it gleams. “We’ve been waiting to write these songs since we started the band and we were able to take these experiences and build a story out of them,” Halladay says. “A Distant Call makes an argument for socialism on an anecdotal level. We’re talking about how late capitalism alienates and commodifies whatever is in its path without using the term ‘late capitalism.’” Guitarist Matt Palmer and Halladay’s new approach to lyricism extended to the recording process, too. Once the brothers Hart and Kyle Seely had laid down the tracks, Halladay recorded vocals with producer Arthur Rizk (Power Trip, Code Orange).
Tinariwen [Amadjar (2LP)]

September 6 street date. Amadjar means ‘the unknown visitor’ in the language of Tamashek, the one who seeks hospitality and who’s condemned to an inner exile, within a territory or within himself. The story of Amadjar, the ninth Tinariwen album, begins at the end of 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast. The destination is important but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that’s been converted into a makeshift studio. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars – to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent. In a few takes, without headphones or effects. This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And also, therefore, to the idea that things can evolve: bassist Eyadou plays a lot of acoustic guitar; percussionist Said tries his hand at new instruments; Abdallah exhumes songs that he’s never played on stage with Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad ; It’s actually played by Warren Ellis. The violinist in Nick Cave’s band is one of several western guests on the album. We also hear the mandolin and charango of Micah Nelson (son of the country music giant Willie Nelson, and Neil Young’s guitarist), and the guitars of Stephen O’Malley (Sunn O)))), Cass McCombs and Rodolphe Burger. The album is mixed by Joshua Vance Smith.
Tropical Fuck Storm [Braindrops]

August 23 street date. Sophomore album from Australia's Tropical Fuck Storm, featuring ex-Drones members Gareth Liddiard and Fiona Kitschin. Liddiard cites "Doc At The Radar Station"-era Captain Beefheart as a key sonic touchstone, and "Braindrops" certainly shares the Captain's penchant for pounding abstract grooves. Liddiard's own description of Tropical Fuck Storm's sound is nearly as interesting and evocative as the music itself. He describes the LP's title track as "Fela Kuti in a car crash," and talks of creating a sonic atmosphere that "sounds like chloroform smells" for "Maria 62", which takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. "It’s about a Mossad agent traveling to Buenos Aires to assassinate Maria Orsic, a Nazi witch who telepathically got the blueprints for warp drive engines from aliens," Liddiard shares. "It may be the most stupid song ever written," Liddiard jokes. He's wrong, "Maria 63" is emblematic of Tropical Fuck Storm's keen ability to mine the extreme edge of pop culture's periphery for potent musical and conceptual spice.
Whitney [Forever Turned Around]

August 30 street date. Restlessness is at the heart of Whitney's resonant and stunning sophomore album "Forever Turned Around". Though Julien Ehrlich is Whitney's lead singing drummer while Max Kakacek is the lead guitarist, when writing, both transcend their roles to piece together each offering lyrically and compositionally. Challenging each other is the core of their songwriting partnership. After a session with producers Bradley Cook (Hand Habits, Hiss Golden Messenger) and Jonathan Rado (Weyes Blood, Father John Misty) helped color in the arrangements, the album truly revealed itself when they reunited with original rhythm guitarist Ziyad Asrar in his basement Chicago studio - the same place where they hashed out much of their critically acclaimed 2016 debut, "Light Upon The Lake". Happiness can be fleeting but this album proves that even when it feels like time is turning on its head and there's either a moment of clarity or crippling doubt, there's still beauty in figuring it all out.
Why? [AOKOHIO]

August 30 street date. Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. On "AOKOHIO", he condenses the essential elements of WHY? into a stunningly potent musical vision. Co-produced by Wolf and his brother Josiah, the record presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. "AOKOHIO" finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds. "AOKOHIO" feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point.

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