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January 24 street date. The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit - comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir) - is mixing the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush. The resulting album, "Bonny Light Horseman", is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages.

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October 18 street date. Matana Roberts returns with the fourth chapter of her extraordinary "COIN COIN" series - a project that has deservedly garnered the highest praise and widespread critical acclaim for its fierce aesthetic originality and unflinching narrative power. The first three "COIN COIN" albums, issued from 2011-2015, charted diverse pathways of avant modern composition - Roberts calls it "panoramic sound quilting" - and ranged sequentially from large band to sextet to solo, unified by Roberts' archival and often deeply personal research into legacies of the American slave trade and ancestries of American identity/experience. Roberts also emphasizes non-male subjects and thematises these other-gendered stories with a range of vocal and verbal techniques: singspeak, submerged glossolalic recitation, guttural cathartic howl, operatic voice, gentle lullaby, group chant, and the recuperation of various American folk traditionals and spirituals, whether surfacing in fragmentary fashion or as unabridged set-pieces. The root of this vocality comes from her dedication to the legacy of her main chosen instrument, the alto saxophone.

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November 1 street date. Unlike the previous volumes in Jon Savage's series of double CD compilations, which featured music from an expansive mixture of genres, this latest edition is 100% rock, as Jon elaborates in the customary bumper 28-page booklet: "in the late 60s, British pop and youth culture began to fragment into tribes. The divisions had always been there, even at the height of the supposedly classless mid-60s. I was an unrepentant rock fan. That was my tribe. I still bought Motown and reggae hits, but they were the hits: there was no deeper exploration. After Radio Caroline had gone, I’d lost most of the connection to black American music as part of the wider pop experience that I’d had in 1965, 1966 and 1967, even 1968. Thus streamed, I hunted the bins all over London for singles on Island, Elektra and Track". 43 tracks from artists such as MC5, The Stooges, Procol Harum, Mott The Hoople, King Crimson, The Velvet Underground, Free, The Kinks, Spooky Tooth, and more.

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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".

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Dan Auerbach produced debut from the "southern gentleman".

"more Laurel Canyon early 70s than Alabama bound country.."

FAB thumbs up !

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June 21 street date. If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears) in 1976, you also took home "Plantasia", an album recorded especially for plants. Subtitled "warm earth music for plants and the people that love them," it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum.

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