February 3 street date, "In God We Trust" is the second album from East Coast hip hop group Brand Nubian. It was released on February 2, 1993 and will be celebrating its 30th anniversary. Lead MC Grand Puba left the group to pursue a solo career in 1991, following the release of their revered debut "One for All". DJ Alamo also left to work with Puba, leaving MC's Sadat X and Lord Jamar, who enlisted DJ Sincere to join the group. It was a safe bet that "In God We Trust" wouldn't have attempted any new jack swing crossovers or tie-dyed imagery. Though the makeover is drastic, it is convincing, with Lord Jamar and Sadat X stepping up with some of the era's fiercest, most intense rhymes and lyrics that were extremely militant reflecting the group's identity adhering to the philosophy of the Nation of Gods and Earths. The album produced two singles, "Punks Jump Up to Get Beat Down" and "Love Me or Leave Me Alone", which both charted on the Billboard Hot 100 chart.
February 3 street date, "In God We Trust" is the second album from East Coast hip hop group Brand Nubian. It was released on February 2, 1993 and will be celebrating its 30th anniversary. Lead MC Grand Puba left the group to pursue a solo career in 1991, following the release of their revered debut "One for All". DJ Alamo also left to work with Puba, leaving MC's Sadat X and Lord Jamar, who enlisted DJ Sincere to join the group. It was a safe bet that "In God We Trust" wouldn't have attempted any new jack swing crossovers or tie-dyed imagery. Though the makeover is drastic, it is convincing, with Lord Jamar and Sadat X stepping up with some of the era's fiercest, most intense rhymes and lyrics that were extremely militant reflecting the group's identity adhering to the philosophy of the Nation of Gods and Earths. The album produced two singles, "Punks Jump Up to Get Beat Down" and "Love Me or Leave Me Alone", which both charted on the Billboard Hot 100 chart.
February 3 street date. Originally released on XL in 2009, Discovery is the collaborative synth pop project from Rostam Batmanglij (founding member and producer of Vampire Weekend) and Wes Miles (lead singer/songwriter of Ra Ra Riot). The album features guest appearances from Ezra Koenig and Angel Deradoorian, and is reissued for the first time in 5 years, with an unlisted bonus track that was not on the XL pressing.
February 3 street date. Originally released on XL in 2009, Discovery is the collaborative synth pop project from Rostam Batmanglij (founding member and producer of Vampire Weekend) and Wes Miles (lead singer/songwriter of Ra Ra Riot). The album features guest appearances from Ezra Koenig and Angel Deradoorian, and is reissued for the first time in 5 years, with an unlisted bonus track that was not on the XL pressing.
February 3 street date. James Brandon Lewis is a New York-based jazz tenor saxophonist, composer, and bandleader. His instrumental voice marries the emotional power of gospel and the grit and groove of blues and R&B to the modal and vanguard influences of Albert Ayler and John Coltrane, and Sonny Rollins' expressive melodic and tonal discipline. In 2021, after he was selected as the "Rising Star Tenor Saxophonist" in the Downbeat International Critics Poll, Lewis issued "The Jesup Wagon", his debut for Tao Forms. Along the way, Lewis drew the attention of many improvising artists, most notably the saxophonist and jazz deity Sonny Rollins, who doesn't offer effusive praise very often. Moved by Lewis' deep, spirit-seeking sound, Rollins said "When I listen to you, I listen to Buddha, I listen to Confucius ... I listen to the deeper meaning of life. You are keeping the world in balance".
February 3 street date. James Brandon Lewis is a New York-based jazz tenor saxophonist, composer, and bandleader. His instrumental voice marries the emotional power of gospel and the grit and groove of blues and R&B to the modal and vanguard influences of Albert Ayler and John Coltrane, and Sonny Rollins' expressive melodic and tonal discipline. In 2021, after he was selected as the "Rising Star Tenor Saxophonist" in the Downbeat International Critics Poll, Lewis issued "The Jesup Wagon", his debut for Tao Forms. Along the way, Lewis drew the attention of many improvising artists, most notably the saxophonist and jazz deity Sonny Rollins, who doesn't offer effusive praise very often. Moved by Lewis' deep, spirit-seeking sound, Rollins said "When I listen to you, I listen to Buddha, I listen to Confucius ... I listen to the deeper meaning of life. You are keeping the world in balance".
February 3 street date. SYML's music has a sacred quality. The solo venture of Seattle artist Brian Fennell, its themes tap into the instincts that drive us to places of sanctuary, whether that be a place or person. "It comes back to your identity of being human; throughout time we've shared the same drive", he explains. His own upbringing - interwoven with experiences of abandonment, adoption, loss, grief and love - is what drives him to question how connections between people shape us as individuals. "The Day My Father Died" is an exceptional record. Over 15 songs, SYML offers a profound exploration of the ways in which our lives intertwine. Throughout the album, SYML weaves in familiar iconography as a means of examining his feelings towards others, and about himself.
February 3 street date. SYML's music has a sacred quality. The solo venture of Seattle artist Brian Fennell, its themes tap into the instincts that drive us to places of sanctuary, whether that be a place or person. "It comes back to your identity of being human; throughout time we've shared the same drive", he explains. His own upbringing - interwoven with experiences of abandonment, adoption, loss, grief and love - is what drives him to question how connections between people shape us as individuals. "The Day My Father Died" is an exceptional record. Over 15 songs, SYML offers a profound exploration of the ways in which our lives intertwine. Throughout the album, SYML weaves in familiar iconography as a means of examining his feelings towards others, and about himself.
February 3 street date. "Submersive Behaviour" is our favorite Australian art-punk combo's take on the tried and true "covers record" concept. Over the course of 36 minutes, Tropical Fuck Storm puts their deranged spin on classics by Jimi Hendrix, Middle Aged In The Middle East In The Middle Ages, Men Men Menstration, Compliments To The Chef, and The Stooges. Guest starring their old kangaroo mates and collaborators Dan Kelly, the Bard of Beenleigh and Aaron Cupples, the Earl of East Gippsland on octopus like strings-man-ship, falsetto and apocalyptic vibes.
February 3 street date. Magnolia Record Club presents "Spotify Singles Volume 2", a collection of rare tracks now available for the first time on vinyl. Hear Lizzo and St. Paul & The Broken Bones' incendiary take on Sam Cooke's "A Change Is Gonna Come", Japanese Breakfast covering The Cranberries, Jade Bird's "Walk Like An Egyptian," the late great John Prine and The Secret Sisters beautiful rendition of Stevie Wonder's "I Just Called To Say I Love You", and contributions from Whitney, Japanese Breakfast, Courteny Barnett, and more. The collection has already garnered over 130M streams on Spotify. Pressed on beautiful yellow and evergreen splatter coloured vinyl.
February 10 street date. "On Grace And Dignity" is the third album, and 4AD debut, from The Golden Dregs, the project of UK based songwriter/producer Benjamin Woods. Written, recorded, and produced from his South London home, and childhood bedroom in Cornwall, the album considers his home and what it means to be shaped by a place. In among the personal reflections on loss of innocence and inferiority, Woods spins subtly interweaving narratives about survival, desperate acts of violence, loss, and the limitations of community in the face of rapacious gentrification. Throughout "On Grace And Dignity", The Golden Dregs keep a graceful pace grounded by Woods' deep baritone voice (think The National's Matt Berninger or Magnetic Fields' Stephin Merrit), which seems to resonate from his feet while he delivers the sort of meticulously written lunar wisdom worthy of Lambchop's Kurt Wagner or the tidy yet revelatory koans of Silver Jews' David Berman.
February 10 street date. "On Grace And Dignity" is the third album, and 4AD debut, from The Golden Dregs, the project of UK based songwriter/producer Benjamin Woods. Written, recorded, and produced from his South London home, and childhood bedroom in Cornwall, the album considers his home and what it means to be shaped by a place. In among the personal reflections on loss of innocence and inferiority, Woods spins subtly interweaving narratives about survival, desperate acts of violence, loss, and the limitations of community in the face of rapacious gentrification. Throughout "On Grace And Dignity", The Golden Dregs keep a graceful pace grounded by Woods' deep baritone voice (think The National's Matt Berninger or Magnetic Fields' Stephin Merrit), which seems to resonate from his feet while he delivers the sort of meticulously written lunar wisdom worthy of Lambchop's Kurt Wagner or the tidy yet revelatory koans of Silver Jews' David Berman.
February 10 street date. "On Grace And Dignity" is the third album, and 4AD debut, from The Golden Dregs, the project of UK based songwriter/producer Benjamin Woods. Written, recorded, and produced from his South London home, and childhood bedroom in Cornwall, the album considers his home and what it means to be shaped by a place. In among the personal reflections on loss of innocence and inferiority, Woods spins subtly interweaving narratives about survival, desperate acts of violence, loss, and the limitations of community in the face of rapacious gentrification. Throughout "On Grace And Dignity", The Golden Dregs keep a graceful pace grounded by Woods' deep baritone voice (think The National's Matt Berninger or Magnetic Fields' Stephin Merrit), which seems to resonate from his feet while he delivers the sort of meticulously written lunar wisdom worthy of Lambchop's Kurt Wagner or the tidy yet revelatory koans of Silver Jews' David Berman.
Please note new street date: February 10. "Smalltown Stardust" is a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of King Tuff's back catalog. On "Smalltown Stardust", Kyle Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of the album is Thomas's desire to commune with nature on a spiritual level. While so much of "Smalltown Stardust" invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duy (Hand Habits) and Sasami Ashworth recording their own heralded albums at the same time. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, "Smalltown Stardust" is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature.
Please note new street date: February 10. "Smalltown Stardust" is a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of King Tuff's back catalog. On "Smalltown Stardust", Kyle Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of the album is Thomas's desire to commune with nature on a spiritual level. While so much of "Smalltown Stardust" invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duy (Hand Habits) and Sasami Ashworth recording their own heralded albums at the same time. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, "Smalltown Stardust" is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature.
Please note new street date: February 10. "Smalltown Stardust" is a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of King Tuff's back catalog. On "Smalltown Stardust", Kyle Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of the album is Thomas's desire to commune with nature on a spiritual level. While so much of "Smalltown Stardust" invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duy (Hand Habits) and Sasami Ashworth recording their own heralded albums at the same time. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, "Smalltown Stardust" is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature.
Please note new street date: February 10. "Smalltown Stardust" is a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of King Tuff's back catalog. On "Smalltown Stardust", Kyle Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of the album is Thomas's desire to commune with nature on a spiritual level. While so much of "Smalltown Stardust" invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duy (Hand Habits) and Sasami Ashworth recording their own heralded albums at the same time. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, "Smalltown Stardust" is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature.
January 20 street date. Limited 20th anniversary vinyl edition of "Old World Underground, Where Are You Now?", the first studio album by seminal Canadian indie rock band Metric. The album includes breakout singles "Combat Baby" and "Dead Disco". The album has sold over 100K+ units in Canada and played an integral part in launching Metric's trajectory from clubs to stadiums and arenas. "Old World Underground, Where Are You Now?" was heralded by Stereogum as the "best distillation of their sound" to date. The album also earned praise from Pitchfork as a "stunning success" for mixing accessible dance-punk and new wave.
February 10 street date. "Breaking The Balls Of History" is Quasi's tenth record, landing ten years after their last record. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast - their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. For a while, they thought 2013's intricate "Mole City" might be their last record. They'd go out on a great one and move on. Then in August 2019 a car smashed into Janet's and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it would ever happen again. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet's strength returned and rose to athlete-level stamina. The incredible result of those sessions is "Breaking The Balls Of History". Janet's galloping drums and Sam's punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. They've crafted exquisitely melodic songs that glitter with rage and wild humour and intelligence, driven by a big bruised pounding heart.
February 10 street date. "Breaking The Balls Of History" is Quasi's tenth record, landing ten years after their last record. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast - their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. For a while, they thought 2013's intricate "Mole City" might be their last record. They'd go out on a great one and move on. Then in August 2019 a car smashed into Janet's and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it would ever happen again. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet's strength returned and rose to athlete-level stamina. The incredible result of those sessions is "Breaking The Balls Of History". Janet's galloping drums and Sam's punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. They've crafted exquisitely melodic songs that glitter with rage and wild humour and intelligence, driven by a big bruised pounding heart.
February 10 street date. In July 2022, with the release show for "Hello, Hi" coming up, Ty Segall & The Freedom Band were working and playing to get it together. There'd be a little acoustic set to open things up, which was something different, so a last minute show was drummed up, for Ty and Emmett Kelly to work it out in front of some people. And that kind of became the REAL record release show. This show clearly ruled, just hearing the five songs included here. With the incredible feelings of the crowd and the spontaneous play in the songs we now know from the album almost miraculously captured to tape at FULL WARMTH, none of us can say we missed it at all anymore - drop the needle and you're there, at the launching of sounds that added to the evolution of the world we've been living in ever since!
February 10 street date. Beggars Arkive reissue the self-titled debut album from Gary Numan's "garage sci-fi rock" band, Tubeway Army. Formed in 1977, Tubeway Army's self-titled album was a segue from the punk-leaning sounds of the group's early singles to the pioneering electronic music that Numan became known for. This 1978 album truly paved the way for Numan to become an electronic pioneer. It was during these sessions that he came across a minimoog synthesizer by accident in the recording studio, and the rest is history. Mastered at Abbey Road from analogue tape, "Tubeway Army" arrives on standard black vinyl.
February 10 street date. Beggars Arkive reissue the self-titled debut album from Gary Numan's "garage sci-fi rock" band, Tubeway Army. Formed in 1977, Tubeway Army's self-titled album was a segue from the punk-leaning sounds of the group's early singles to the pioneering electronic music that Numan became known for. This 1978 album truly paved the way for Numan to become an electronic pioneer. It was during these sessions that he came across a minimoog synthesizer by accident in the recording studio, and the rest is history. Mastered at Abbey Road from analogue tape, "Tubeway Army" arrives on limited edition blue vinyl with a white swirl.
February 10 street date. Acclaimed indie trio Yo La Tengo present their most live-sounding album in years, "This Stupid World". Times have changed for the group as much as they have for everyone else. In the past they've often worked with outside producers and mixers, but for their latest effort, the band's sixteenth studio record and first full-length in five years, they were left to their own devices. Their time-tested judgment across the double-LP is both sturdy enough to keep things up to Yo La Tengo's high standards, and nimble enough to make things new. At the base of nearly every track on "This Stupid World" is the trio playing all at once, giving everything a right-now feel. There's an immediacy to the music, as if the distance between the first pass and the final product has become more direct.
February 10 street date. Acclaimed indie trio Yo La Tengo present their most live-sounding album in years, "This Stupid World". Times have changed for the group as much as they have for everyone else. In the past they've often worked with outside producers and mixers, but for their latest effort, the band's sixteenth studio record and first full-length in five years, they were left to their own devices. Their time-tested judgment across the double-LP is both sturdy enough to keep things up to Yo La Tengo's high standards, and nimble enough to make things new. At the base of nearly every track on "This Stupid World" is the trio playing all at once, giving everything a right-now feel. There's an immediacy to the music, as if the distance between the first pass and the final product has become more direct.
February 10 street date. Acclaimed indie trio Yo La Tengo present their most live-sounding album in years, "This Stupid World". Times have changed for the group as much as they have for everyone else. In the past they've often worked with outside producers and mixers, but for their latest effort, the band's sixteenth studio record and first full-length in five years, they were left to their own devices. Their time-tested judgment across the double-LP is both sturdy enough to keep things up to Yo La Tengo's high standards, and nimble enough to make things new. At the base of nearly every track on "This Stupid World" is the trio playing all at once, giving everything a right-now feel. There's an immediacy to the music, as if the distance between the first pass and the final product has become more direct.
February 17 street date. Recorded in Berlin and remotely between 2020 and 2021, The Brian Jonestown Massacre returns with their 20th full-length studio album. The album was recorded in Berlin By Anton Newcombe, and joining him in the studio for this album were Hakon Adalsteinsson (guitar) and Uri Rennert (drums). The band have been touring and completed a 34 date North American tour in 2022 with Mercury Rev and The Magic Castles. 180g clear vinyl LP with a pack of 6 colour pencils so you can colour in your own album cover. The CD comes in two different designs.
February 17 street date. Recorded in Berlin and remotely between 2020 and 2021, The Brian Jonestown Massacre returns with their 20th full-length studio album. The album was recorded in Berlin By Anton Newcombe, and joining him in the studio for this album were Hakon Adalsteinsson (guitar) and Uri Rennert (drums). The band have been touring and completed a 34 date North American tour in 2022 with Mercury Rev and The Magic Castles. 180g clear vinyl LP with a pack of 6 colour pencils so you can colour in your own album cover. The CD comes in two different designs.
February 17 street date. Recorded in Berlin and remotely between 2020 and 2021, The Brian Jonestown Massacre returns with their 20th full-length studio album. The album was recorded in Berlin By Anton Newcombe, and joining him in the studio for this album were Hakon Adalsteinsson (guitar) and Uri Rennert (drums). The band have been touring and completed a 34 date North American tour in 2022 with Mercury Rev and The Magic Castles. 180g clear vinyl LP with a pack of 6 colour pencils so you can colour in your own album cover. The CD comes in two different designs.
February 17 street date. 50 years after the genre turned the music world upside-down, Grade 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong's legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk coursing through their veins. Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous "Grade 2" is their magnum opus. The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong's Ship Rec Studio in Los Angeles.
February 17 street date. 50 years after the genre turned the music world upside-down, Grade 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong's legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk coursing through their veins. Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous "Grade 2" is their magnum opus. The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong's Ship Rec Studio in Los Angeles.
February 17 street date. First stand-alone reissue of this early album from Guided By Voices in thirty-five years! Even back in 1987, Guided By Voices was not content to release just one album in a year - "Sandbox" was released in the summer of that year following the appearance of "Devil Between My Toes" that February. Likewise, in similar GBV style, the sound and approach of the two albums could not be more different. Where "Devil" mostly mines a darker, lo-fi psychedia, along with several instrumental explorations, "Sandbox" is sunny, direct, has a bigger, crunchier sound, and zero instrumentals. Of all the band's early self-released albums, "Sandbox" differs the most from the sound fans would later associate with the group, which is in itself a recommendation.
February 17 street date. First stand-alone reissue of this early album from Guided By Voices in thirty-five years! Even back in 1987, Guided By Voices was not content to release just one album in a year - "Sandbox" was released in the summer of that year following the appearance of "Devil Between My Toes" that February. Likewise, in similar GBV style, the sound and approach of the two albums could not be more different. Where "Devil" mostly mines a darker, lo-fi psychedia, along with several instrumental explorations, "Sandbox" is sunny, direct, has a bigger, crunchier sound, and zero instrumentals. Of all the band's early self-released albums, "Sandbox" differs the most from the sound fans would later associate with the group, which is in itself a recommendation.
February 17 street date. Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's "Hello World" immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's "Beautiful You", a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of "Finds You Well", his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Edmonton. With "Release Spirit", Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it.
February 17 street date. Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's "Hello World" immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's "Beautiful You", a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of "Finds You Well", his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Edmonton. With "Release Spirit", Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it.
February 17 street date. Canadian producer Dylan Khotin-Footehas kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's "Hello World" immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's "Beautiful You", a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of "Finds You Well", his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Edmonton. With "Release Spirit", Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it.
February 17 street date. First time on vinyl, remastered with a new cover. Hailing from Montreal, Oscar Peterson (August 15, 1925-December 23, 2007) is one of the greatest jazz pianists of all time, releasing over 200 recordings, winning seven Grammy Awards, as well as a lifetime achievement award from the Recording Academy. The Oscar Peterson Trio with Herb Ellis and Ray Brown, as you'll hear on "Vancouver, 1958", was at the top of its game. Oscar's early U.S. appearances were in duo form with Brown, while Texas-born Ellis had been a member of another trio-of-note, The Soft Winds, with John Frigio and Lou Carter. When Oscar replaced the group's original third member, Barney Kessel - Ellis, who Oscar had heard with the aforementioned threesome, was an immediate choice, seconded by Kessel himself (later he and Herb worked as a guitar duo). Ellis joined in 1953 and, by the time of their appearances in Western Canada, this was about as tight a trio as you'll find in jazz. Ellis left the trio in 1958, so these recordings rank among the last by this classic trio.
February 24 street date. Atlanta based post-punk group Algiers present their 4th album, "Shook". At the same time notably joyous and celebratory, the record was born when bandmates Franklin James Fisher and Ryan Mahan found themselves at home for several months, reeling from growing pressures and burnout as touring musicians. This triggered an intense period of beatmaking, reconnecting as friends over hours immersed in episodes of "Rhythm Roulette", and descending deep into alt-rap YouTube rabbit holes. A revisit of DJ Grand Wizard Theodore's 1970s punk-infused New York City rap masterpiece ‘Subway Theme’ then emerged as a spiritual moodboard for what was to be the cross-pollination of urban and counter-culture styles on "Shook". The sprawling 17-track double LP is Algiers' first new music since 2020's "There Is No Year" and features an array of guests spanning icons like Rage Against The Machine's Zack De La Rocha to 2021 Polaris prize winner Backxwash and Future Islands' frontman Samuel T. Herring. Each contribution deftly reshapes and recontextualized the notion of being shook from a variety of perspectives, occupying shifting roles as oracles and narrators.
February 24 street date. Atlanta based post-punk group Algiers present their 4th album, "Shook". At the same time notably joyous and celebratory, the record was born when bandmates Franklin James Fisher and Ryan Mahan found themselves at home for several months, reeling from growing pressures and burnout as touring musicians. This triggered an intense period of beatmaking, reconnecting as friends over hours immersed in episodes of "Rhythm Roulette", and descending deep into alt-rap YouTube rabbit holes. A revisit of DJ Grand Wizard Theodore's 1970s punk-infused New York City rap masterpiece ‘Subway Theme’ then emerged as a spiritual moodboard for what was to be the cross-pollination of urban and counter-culture styles on "Shook". The sprawling 17-track double LP is Algiers' first new music since 2020's "There Is No Year" and features an array of guests spanning icons like Rage Against The Machine's Zack De La Rocha to 2021 Polaris prize winner Backxwash and Future Islands' frontman Samuel T. Herring. Each contribution deftly reshapes and recontextualized the notion of being shook from a variety of perspectives, occupying shifting roles as oracles and narrators.
February 24 street date. Atlanta based post-punk group Algiers present their 4th album, "Shook". At the same time notably joyous and celebratory, the record was born when bandmates Franklin James Fisher and Ryan Mahan found themselves at home for several months, reeling from growing pressures and burnout as touring musicians. This triggered an intense period of beatmaking, reconnecting as friends over hours immersed in episodes of "Rhythm Roulette", and descending deep into alt-rap YouTube rabbit holes. A revisit of DJ Grand Wizard Theodore's 1970s punk-infused New York City rap masterpiece ‘Subway Theme’ then emerged as a spiritual moodboard for what was to be the cross-pollination of urban and counter-culture styles on "Shook". The sprawling 17-track double LP is Algiers' first new music since 2020's "There Is No Year" and features an array of guests spanning icons like Rage Against The Machine's Zack De La Rocha to 2021 Polaris prize winner Backxwash and Future Islands' frontman Samuel T. Herring. Each contribution deftly reshapes and recontextualized the notion of being shook from a variety of perspectives, occupying shifting roles as oracles and narrators.
February 24 street date. As its name suggested, the intimate and sultry "Cuntry Covers Vol. 1" was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, "Cuntry Covers Vol. 2" is every bit as potent as its predecessor, whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists Frigs. Debuting the project in 2021, the languid, reverb-drenched "Cuntry Covers Vol. 1" saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. "Vol. 2" pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glen Campbell - by way of Nick Cave - and Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs.
February 24 street date. As its name suggested, the intimate and sultry "Cuntry Covers Vol. 1" was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, "Cuntry Covers Vol. 2" is every bit as potent as its predecessor, whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists Frigs. Debuting the project in 2021, the languid, reverb-drenched "Cuntry Covers Vol. 1" saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. "Vol. 2" pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glen Campbell - by way of Nick Cave - and Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs.
February 24 street date (Vinyl) / (CD available now). Bill Callahan continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. Bill's got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals, and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. With Bill's voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go.
February 24 street date. Beggars Arkive release the long-awaited reissue of The Cult's multi-platinum second album, "Love". Fronted by vocalist Ian Astbury, along with Billy Duffy on guitar, their music needs no introduction as they have cemented themselves over the years as one of the greatest rock bands around. Originally released in 1985, "Love" was their breakthrough and produced singles including "Rain", "Revolution", and the epic anthem "She Sells Sanctuary", all songs that still resonate today. "She Sells Sanctuary" was recently featured in Season Two of the hit HBO TV show "Euphoria". The Cult's "Love" is the album that eventually defined their career, but at the time, it flew in the face of everything that was going on in music.
February 24 street date. Beggars Arkive release the long-awaited reissue of The Cult's multi-platinum second album, "Love". Fronted by vocalist Ian Astbury, along with Billy Duffy on guitar, their music needs no introduction as they have cemented themselves over the years as one of the greatest rock bands around. Originally released in 1985, "Love" was their breakthrough and produced singles including "Rain", "Revolution", and the epic anthem "She Sells Sanctuary", all songs that still resonate today. "She Sells Sanctuary" was recently featured in Season Two of the hit HBO TV show "Euphoria". The Cult's "Love" is the album that eventually defined their career, but at the time, it flew in the face of everything that was going on in music.
February 24 street date. Despite an excellent debut album, Naughty By Nature was pegged as a one-hit wonder by some. After all, they'd never duplicate the inescapably catchy "O.P.P.". But when "19 Naughty III" was released on February 23, 1993 with the lead single "Hip Hop Hooray", the group proved that they could recreate that magic. Celebrating its 30th anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.
February 24 street date. Despite an excellent debut album, Naughty By Nature was pegged as a one-hit wonder by some. After all, they'd never duplicate the inescapably catchy "O.P.P.". But when "19 Naughty III" was released on February 23, 1993 with the lead single "Hip Hop Hooray", the group proved that they could recreate that magic. Celebrating its 30th anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.
February 24 street date. Despite an excellent debut album, Naughty By Nature was pegged as a one-hit wonder by some. After all, they'd never duplicate the inescapably catchy "O.P.P.". But when "19 Naughty III" was released on February 23, 1993 with the lead single "Hip Hop Hooray", the group proved that they could recreate that magic. Celebrating its 30th anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.
February 24 street date. The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's "On Avery Island" and 1998's "In the Aeroplane Over the Sea" give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it - no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility.For all the mythology Mangum's elusive persona has accrued, it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now being updated for wide reissue by the band's longtime label Merge Records.
February 24 street date. Following his UK top 10 album "Seeking New Gods", Welsh musician/composer Gruff Rhys presents the original soundtrack for the film "The Almond & The Seahorse". The 22-track album comprises original songs and instrumental score, all composed by Gruff Rhys. Tonally, the soundtrack compliments the movie perfectly: the drama of the subject matter and the human relationships is counterbalanced by the film's wry humour and lightness of touch, and the varied compositions and styles on Rhys' score and compositions reflects that. The film tells the story of archaeologist (Rebel Wilson) and an architect (Charlotte Gainsbourg) and their fight to re-imagine a future after a traumatic brain injury leaves them adrift from the people they love. The title of the film itself refers to the nicknames given to the parts of our brains that lay down new memories and hold on to the old ones. "The Almond & The Seahorse" is released as a foil numbered, limited edition transparent yellow double LP with a fold out film poster.
February 24 street date. Chalie Steen declares that "Food For Worms" is "the Lamborghini of shame records". It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrics of Lou Reed, and the more melodic works of 90s German band Blumfeld. For the first time, the band are not delving inwards, but seeking to capture the world around them. In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share.
February 24 street date. Chalie Steen declares that "Food For Worms" is "the Lamborghini of shame records". It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrics of Lou Reed, and the more melodic works of 90s German band Blumfeld. For the first time, the band are not delving inwards, but seeking to capture the world around them. In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share.
February 24 street date. Chalie Steen declares that "Food For Worms" is "the Lamborghini of shame records". It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrics of Lou Reed, and the more melodic works of 90s German band Blumfeld. For the first time, the band are not delving inwards, but seeking to capture the world around them. In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share.
February 24 street date. Chalie Steen declares that "Food For Worms" is "the Lamborghini of shame records". It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrics of Lou Reed, and the more melodic works of 90s German band Blumfeld. For the first time, the band are not delving inwards, but seeking to capture the world around them. In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share.
February 24 street date. Steve Vai is excited to announced the release of "Vai/Gash", a never before released studio album from Steve Vai featuring vocals from his old friend, the late Johnny "Gash" Sombrotto. Originally recorded in 1991, "Vai/Gash" is finally seeing the light of day after 30 years in the vault. As Vai shares, "this record was written and recorded in somewhat of a stream of consciousness in 1991 as an answer to my desire to have a particular kind of music to listen to when I was riding my Harley Davidson motorcycle with my friends. It's reminiscent of a certain type of rock music I enjoyed as a teenager in the 1970s. After three decades, Vai has finally shared this master with the world. "John would have been the greatest rock lead singer you would ever want to know", shares Vai. "Disheartened, I put the entire project on the shelf, and would listen to it once a year for the past 30 years, especially around the anniversary of his passing. Then recently something compelled me to want to put it out now".
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. Reissue of "3 Feet High And Rising", the classic debut studio album by hip hop trio De La Soul, originally released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, "3 Feet High And Rising" was ranked #1. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity. Sampling artists as diverse as Hall & Oates, Steely Dan, and The Turtles, "3 Feet High And Rising" is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
March 3 street date. If credibility were currency, Fake Names' wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The [International] Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside), and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, "Expendables" is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that's slightly unexpected and wholly satisfying. For "Expendables", the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "the pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent".
March 3 street date. The Orb's eight studio album, 2007's "The Dream" was a return to form and leans towards the earlier Orb sound and aesthetic. On "The Dream", Dr. Alex Paterson reunited with Martin ‘Youth’ Glover and wass also joined by Tim Bran of Dreadzone. As well, listeners are treated to the magical guitar flair from none other than Steve Hillage (Gong, System 7) as he joins in on several of the album's tracks.
March 3 street date. First time on vinyl for The Orb's eight studio album, 2007's "The Dream", which was a return to form and leans towards the earlier Orb sound and aesthetic. On "The Dream", Dr. Alex Paterson reunited with Martin ‘Youth’ Glover and wass also joined by Tim Bran of Dreadzone. As well, listeners are treated to the magical guitar flair from none other than Steve Hillage (Gong, System 7) as he joins in on several of the album's tracks. Pressed on gorgeous transparent green double vinyl and digitally remastered by Grant Collins (Darshan), this album will be a special one for aficionados, collectors, and connoisseurs across the globe! Limited to 1750 copies.
March 3 street date. Xiu Xiu has spent twenty years grappling with how to process, to be empathetic towards, to disobey and to reorganize horror. "Ignore Grief" is a record of halves. Angela Seo sings on half of the record. Jamie Stewart sings on half of the record. Half of it is real. Half of it is imaginary. The real songs attempt to turn the worst life has offered to five people the band is connected with into some kind of desperate shape that does something, anything, other than grind and brutalize their hearts and memory within these stunningly horrendous experiences. The imaginary songs are an expansion and abstract exploration of the early rock and roll "teen tragedy" genre as jumping off point to decontaminate the band's own overwhelming emotions in knowing and living with what has happened to these five people.
March 3 street date. Xiu Xiu has spent twenty years grappling with how to process, to be empathetic towards, to disobey and to reorganize horror. "Ignore Grief" is a record of halves. Angela Seo sings on half of the record. Jamie Stewart sings on half of the record. Half of it is real. Half of it is imaginary. The real songs attempt to turn the worst life has offered to five people the band is connected with into some kind of desperate shape that does something, anything, other than grind and brutalize their hearts and memory within these stunningly horrendous experiences. The imaginary songs are an expansion and abstract exploration of the early rock and roll "teen tragedy" genre as jumping off point to decontaminate the band's own overwhelming emotions in knowing and living with what has happened to these five people.
March 10 street date. The second solo album by La Luz singer/guitarist Shana Cleveland. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid - and her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's "Night Of The Worm Moon" functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, "Manzanita" concerns the love that loves to love. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast.
March 10 street date. The second solo album by La Luz singer/guitarist Shana Cleveland. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid - and her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's "Night Of The Worm Moon" functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, "Manzanita" concerns the love that loves to love. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast.
March 10 street date. The second solo album by La Luz singer/guitarist Shana Cleveland. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid - and her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's "Night Of The Worm Moon" functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, "Manzanita" concerns the love that loves to love. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast.
March 10 street date. "Oh Me Oh My" is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point - his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's "My Life in the Bush of Ghosts" and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother, and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.
March 10 street date. "Oh Me Oh My" is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point - his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's "My Life in the Bush of Ghosts" and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother, and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.
March 10 street date. "Oh Me Oh My" is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point - his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's "My Life in the Bush of Ghosts" and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother, and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.
March 10 street date. Mdou Moctar present the first installment of their EP series, the "Niger EP Vol. 1", featuring live and previously unreleased recordings captured in Mdou's home country. Including a 13-minute drum machine epic ‘Imouhar’, four live versions of songs from across Mdou's catalogue, as well as a drum machine version of "Afrique Victime" opening track ‘Chismiten‘. Producer and bass player Mikey Coltun said: "in 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cellphone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the "Niger" EPs, which examine the roots of the Mdou Moctar band". The result is a curated mix of recordings from 2017-2020 that document the band at weddings, picnics, rehearsals, and even impromptu house concerts.
March 10 street date. Tuareg rock group Mdou Moctar present the second installment of their "Niger" EP series - featuring live and alternate versions of songs spanning the band's discography, recorded in their home country. The limited edition transparent green "Niger EP Vol. 2" is an innovative alchemy of Tuareg folk, blues and rock, electric guitar pyrotechnics, field recordings and electronics with poetic call-to-arms lyrics about the plight of his homeland of Niger. "Ibitlan" captures the band's renowned live energy in unmediated form, pushing the faders to their very limits and representing what Mdou Moctar are accomplishing with this project. Speaking on track, and the ethos behind these recordings, producer and bassist Mikey Coltun said "this particular recording was done in Agadez in 2017 at a wedding. Mdou and I had played three weddings a day for about a month and a half on that trip. It was like bootcamp. I loved it. "Ibitlan" is one of Mdou's oldest songs and is covered by pretty much every Tuareg guitarist. We've played versions of this song lasting over 20 minutes. It's definitely one of my favorites to play!".
March 10 street date. Electronic post-punk duo Sleaford Mods present their new album "UK Grim", arriving through Rough Trade Records. Truly the sound of now, not only in terms of the ideas and issues singer Jason Williamson's strong words invoke, but also thanks to the innovative and immersive production from his bandmate, Andrew Fearn. Angry yet artful, innovative yet possessing an instinctual energy that irresistibly moves bodies and minds, "UK Grim" is an erudite electronic vision that truly engages with times that have been anything but "precedented". Across the 14-track record the pair collaborate on songs with Jane's Addiction's creative powerhouse, Perry Farrell and Dave Navarro, along with Florence Shaw, the distinct and vital voice at the heart of British band Dry Cleaning.
March 10 street date. Electronic post-punk duo Sleaford Mods present their new album "UK Grim", arriving through Rough Trade Records. Truly the sound of now, not only in terms of the ideas and issues singer Jason Williamson's strong words invoke, but also thanks to the innovative and immersive production from his bandmate, Andrew Fearn. Angry yet artful, innovative yet possessing an instinctual energy that irresistibly moves bodies and minds, "UK Grim" is an erudite electronic vision that truly engages with times that have been anything but "precedented". Across the 14-track record the pair collaborate on songs with Jane's Addiction's creative powerhouse, Perry Farrell and Dave Navarro, along with Florence Shaw, the distinct and vital voice at the heart of British band Dry Cleaning.
March 10 street date. Electronic post-punk duo Sleaford Mods present their new album "UK Grim", arriving through Rough Trade Records. Truly the sound of now, not only in terms of the ideas and issues singer Jason Williamson's strong words invoke, but also thanks to the innovative and immersive production from his bandmate, Andrew Fearn. Angry yet artful, innovative yet possessing an instinctual energy that irresistibly moves bodies and minds, "UK Grim" is an erudite electronic vision that truly engages with times that have been anything but "precedented". Across the 14-track record the pair collaborate on songs with Jane's Addiction's creative powerhouse, Perry Farrell and Dave Navarro, along with Florence Shaw, the distinct and vital voice at the heart of British band Dry Cleaning.
March 10 street date. The Smile present their vinyl-only EP, "Europe 2022 Live Recordings". It is comprised of 5 live performances from the trio's (Thom Yorke, Jonny Greenwood and Tom Skinner) widely acclaimed debut album, "A Light For Attracting Attention", as well as the band's rendition of Thom's 2009 solo track "FeelingPulledApartByHorses". "Europe Live Recordings 2022" was recorded in various cities over the course of The Smile's first ever tour last summer, and is limited to 300 copies Canada-wide. On July 15th The Smile play their biggest Canadian show to date at Laval QC's Place Bell.
March 10 street date. So named because the CD version originally clocked in time-wise at 29 minutes and 29 seconds, ‘29:29 Split Vision’ was recorded in December 1985, just after the band had split up, and they wanted to bring some closure to that period by recording the new songs they were working on at the time, alongside some of their older material that hadn’t yet been properly recorded. Whilst the B-side hints at the underlying reasons the band split up – the inevitable ‘musical differences’, with the three newest songs on the release literally worlds apart (excuse the pun) from their classic material - the five songs on the A-side are veritable belters, and ‘Split Vision’ remains a frustratingly fascinating offering from this most unconventional of punk bands.
March 10 street date. So named because the CD version originally clocked in time-wise at 29 minutes and 29 seconds, ‘29:29 Split Vision’ was recorded in December 1985, just after the band had split up, and they wanted to bring some closure to that period by recording the new songs they were working on at the time, alongside some of their older material that hadn’t yet been properly recorded. Whilst the B-side hints at the underlying reasons the band split up – the inevitable ‘musical differences’, with the three newest songs on the release literally worlds apart (excuse the pun) from their classic material - the five songs on the A-side are veritable belters, and ‘Split Vision’ remains a frustratingly fascinating offering from this most unconventional of punk bands.
March 10 street date. The EP-LP was originally released in early 1986, after the band had split in November 1985, and collected for convenience the first four Subhumans Eps onto one disc. This includes the fiery six-track debut, ‘Demolition War’, that was first unleashed at the end of 1981, the powerful and provocative ‘Reason For Existence’ and the perennial ‘Religious Wars’, both from 1982, and the intensely angry ‘Evolution’, from May 1983, whose title track rages so effectively against the senseless tragedy that is vivisection. Whilst never intended to be released as a full-length album when first recorded, most of the eighteen tracks on offer are still staples in the band’s set to this day, and hang together very cohesively as an essential body of work.
March 10 street date. The EP-LP was originally released in early 1986, after the band had split in November 1985, and collected for convenience the first four Subhumans Eps onto one disc. This includes the fiery six-track debut, ‘Demolition War’, that was first unleashed at the end of 1981, the powerful and provocative ‘Reason For Existence’ and the perennial ‘Religious Wars’, both from 1982, and the intensely angry ‘Evolution’, from May 1983, whose title track rages so effectively against the senseless tragedy that is vivisection. Whilst never intended to be released as a full-length album when first recorded, most of the eighteen tracks on offer are still staples in the band’s set to this day, and hang together very cohesively as an essential body of work.
March 10 street date. With their eclectic influences and scintillating musicianship, Subhumans were never going to be content to trot out anarcho punk by numbers, but no-one was really prepared for the progressive brilliance of their sophomore album, ‘From The Cradle To The Grave’. Whilst the A-side contains nine short sharp bursts of energised punk, gleefully embracing all points of the spikey spectrum, from the breakneck thrash of ‘Reality Is Waiting For A Bus’ to the ominous dirge of ‘Wake Up Screaming’, it is the ambitious title track that really captures the imagination, its sprawling sixteen-plus-minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim – and only kept from the No. 1 spot in the Independent Charts by New Order!
March 10 street date. With their eclectic influences and scintillating musicianship, Subhumans were never going to be content to trot out anarcho punk by numbers, but no-one was really prepared for the progressive brilliance of their sophomore album, ‘From The Cradle To The Grave’. Whilst the A-side contains nine short sharp bursts of energised punk, gleefully embracing all points of the spikey spectrum, from the breakneck thrash of ‘Reality Is Waiting For A Bus’ to the ominous dirge of ‘Wake Up Screaming’, it is the ambitious title track that really captures the imagination, its sprawling sixteen-plus-minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim – and only kept from the No. 1 spot in the Independent Charts by New Order!
March 10 street date. The astounding debut album that established the Subhumans as a genuine force to be reckoned with, ‘The Day The Country Died’ captured both the band’s serious anarcho punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant – probably his most recognisable piece of work for the band - has adorned countless thousands of jackets and T-shirts since. Recorded over just four days during the heady summer of 1982, and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important Independent Charts, this exhilarating collection of songs has endured for four decades, the band still regularly kicking their live set off with the opening track, ‘All Gone Dead’. As a staple of the punk scene, ALL of the Subhumans records are still in high demand, and this long overdue repress of this album couldn’t be coming at a better time. Subhumans are one of the most influential bands from the UK Anarcho-Punk scene of the 80's, filed right alongside Crass and Conflict, and just as relevant today as they were during the darkest days of Thatcher's Britain. Take your choice in how to label them – Punk, UK82, Crusty, etc. – therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that Subhumans helped create.
March 10 street date. The astounding debut album that established the Subhumans as a genuine force to be reckoned with, ‘The Day The Country Died’ captured both the band’s serious anarcho punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant – probably his most recognisable piece of work for the band - has adorned countless thousands of jackets and T-shirts since. Recorded over just four days during the heady summer of 1982, and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important Independent Charts, this exhilarating collection of songs has endured for four decades, the band still regularly kicking their live set off with the opening track, ‘All Gone Dead’. As a staple of the punk scene, ALL of the Subhumans records are still in high demand, and this long overdue repress of this album couldn’t be coming at a better time. Subhumans are one of the most influential bands from the UK Anarcho-Punk scene of the 80's, filed right alongside Crass and Conflict, and just as relevant today as they were during the darkest days of Thatcher's Britain. Take your choice in how to label them – Punk, UK82, Crusty, etc. – therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that Subhumans helped create.
March 10 street date. As the title suggests, this 1986 album compiled the eight-track ‘Time Flies… But Aeroplanes Crash’ 12”, originally recorded and released in 1983, and the four-track EP, ‘Rats’, that had been recorded during the summer of 1984 and released in early ’85. ‘Rats’ might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first world capitalism and third world poverty. Whilst it’s something of a mish-mash, with several rowdy live tracks and a few, very enjoyable re-recordings of old Stupid Humans songs (Stupid Humans being guitarist Bruce’s pre-Subhumans band…), it contains two of the Subhumans’ best-loved tracks, ‘Work Rest Play Die’ and ‘Susan’, the latter something of an oddity as it’s a stirring piano piece, with lyrics written by Steve Hamilton, an old friend of the band.
March 10 street date. As the title suggests, this 1986 album compiled the eight-track ‘Time Flies… But Aeroplanes Crash’ 12”, originally recorded and released in 1983, and the four-track EP, ‘Rats’, that had been recorded during the summer of 1984 and released in early ’85. ‘Rats’ might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first world capitalism and third world poverty. Whilst it’s something of a mish-mash, with several rowdy live tracks and a few, very enjoyable re-recordings of old Stupid Humans songs (Stupid Humans being guitarist Bruce’s pre-Subhumans band…), it contains two of the Subhumans’ best-loved tracks, ‘Work Rest Play Die’ and ‘Susan’, the latter something of an oddity as it’s a stirring piano piece, with lyrics written by Steve Hamilton, an old friend of the band.
March 10 street date. Arguably the highlight of their Eighties output, the third Subhumans album was recorded at Woodlands Studio, Castleford, during Spring 1985, and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental, ‘33322’, what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements and dizzying time changes. With a front cover illustration inked by vocalist Dick, ‘Worlds Apart’ saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks, such as ‘Apathy’, ‘Businessmen’ and ‘Can’t Hear The Words’, but every single track on the album remains an understated masterpiece.
March 10 street date. Arguably the highlight of their Eighties output, the third Subhumans album was recorded at Woodlands Studio, Castleford, during Spring 1985, and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental, ‘33322’, what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements and dizzying time changes. With a front cover illustration inked by vocalist Dick, ‘Worlds Apart’ saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks, such as ‘Apathy’, ‘Businessmen’ and ‘Can’t Hear The Words’, but every single track on the album remains an understated masterpiece.
March 31 street date. Celebrating 20 years, Thrice's breakthrough album, The Illusion of Safety, continues to influence artists and fans alike with its sharp and powerful blend of punk, hardcore, metal, and emo. From all ages punk/hardcore clubs in Orange County, CA to headlining the biggest rock festivals and venues in the world, one can point to The Illusion of Safety as the catalyst to the band's storied success. One can inevitably hear the request "play Deadbolt" at every Thrice show, even 20 years, and ten albums later, a testament to the staying power of an album that defined the screamo/post-hardcore era. With the anniversary version of The Illusion of Safety, the band celebrates the legacy of the emo/posthardcore classic, releasing b-side "That Hideous Strength" on vinyl for the first time, and playing the album in full for the first time in their history at Furnace Fest and 4 sold out hometown shows in December. For Fans Of: Circa Survive, Manchester Orchestra, Underoath
March 10 street date. Meeting at the halfway point between "Bleach" and "Damaged", Unwound's 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, "Unwound" was released on Rumsey's Punk In My Vitamins label as the band began flirting with the mainstream. Witness a band's prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
March 10 street date. Meeting at the halfway point between "Bleach" and "Damaged", Unwound's 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, "Unwound" was released on Rumsey's Punk In My Vitamins label as the band began flirting with the mainstream. Witness a band's prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
March 10 street date. "Thank You For Being Here" is a new live album by The World Is A Beautiful Place & I Am No Longer Afraid To Die and is a companion piece to a feature length documentary film of the same name. After multiple delays, the seven-piece band from Connecticut set out on the road in 2021 for a five -week tour to support their critically acclaimed new album, "Illusory Walls". They brought with them a documentary filmmaker and audio engineer to capture the adventures. This collection of songs features fan favourites from the band's catalog along with a deep dive into their latest studio album. The film is slated for release in October, the one year anniversary of the band's latest studio album, "Illusory Walls".
Please note new street date: March 17. Aaliyah is the self-titled third and final studio album by the "queen of urban pop," Aaliyah. Originally released in 2001 by Blackground Records, the album debuted at number two on the Billboard 200 albums chart. Cited by critics as one of the best R&B records of its time, the album is a reflection of herself as both a young adult and matured vocalist. Standout tracks include "We Need A Resolution", "More Than A Woman", and "Rock The Boat".
March 17 street date. The music on "Blackout" rocks, has a truckload of sweat, blood and energy, and conveys an intense insight into relationships ("Walk Away") and personal politics ("Gonna Be A Blackout Tonight" - lyrics written by Woody Guthrie after the band was given special exclusive access and permission to use his words through Guthrie's family). The record still contains rousing tunes rooted in Irish music and American folk and destined to be a Boston Bruins (boo!) call to arms classic called "Time To Go". And it's important to mention that each member of the band played a crucial role, working hand in hand to create this new record. Reissued on limited edition red vinyl to celebrate the album's 20th anniversary!
March 17 street date. "A Space In Time" is Ten Years After's sixth, and best-selling album, and was originally released in August 1971. Featuring their most well-known track "I'd Love To Change The World", which regularly features in movies and TV shows, saw the band taking a more melodic direction from previous releases and showcased the band at their peak. This new (delayed) 50th anniversary edition of the album features a brand-new mix by the original producer/engineer, Chris Kimsey, using the original 2" multitrack tapes. He has used modern day plug-ins that perfectly emulate and expand upon the original recording. The results are stunning. The second disc in this set features the original 1971 mix of the album. Both have been mastered by Miles Showell at Abbey Road Studios. This new edition of the album is housed is a gatefold spined wallet and features new sleeve notes by Chris Kimsey, and band members Ric Lee, Chick Churchill, and Leo Lyons.
March 17 street date. "A Space In Time" is Ten Years After's sixth, and best-selling album, and was originally released in August 1971. Featuring their most well-known track "I'd Love To Change The World", which regularly features in movies and TV shows, saw the band taking a more melodic direction from previous releases and showcased the band at their peak. This new (delayed) 50th anniversary edition of the album features a brand-new mix by the original producer/engineer, Chris Kimsey, using the original 2" multitrack tapes. He has used modern day plug-ins that perfectly emulate and expand upon the original recording. The results are stunning. The second disc in this set features the original 1971 mix of the album. Both have been mastered by Miles Showell at Abbey Road Studios. This new edition of the album is housed is a gatefold spined wallet and features new sleeve notes by Chris Kimsey, and band members Ric Lee, Chick Churchill, and Leo Lyons.
March 17 street date. 2LP clear vinyl edition, exclusively available to independent record stores. "A Space In Time" is Ten Years After's sixth, and best-selling album, and was originally released in August 1971. Featuring their most well-known track "I'd Love To Change The World", which regularly features in movies and TV shows, saw the band taking a more melodic direction from previous releases and showcased the band at their peak. This new (delayed) 50th anniversary edition of the album features a brand-new mix by the original producer/engineer, Chris Kimsey, using the original 2" multitrack tapes. He has used modern day plug-ins that perfectly emulate and expand upon the original recording. The results are stunning. The second disc in this set features the original 1971 mix of the album. Both have been mastered by Miles Showell at Abbey Road Studios. This new edition of the album is housed is a gatefold spined wallet and features new sleeve notes by Chris Kimsey, and band members Ric Lee, Chick Churchill, and Leo Lyons.
March 17 street date. "V" is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, "V" is the definitive Unknown Mortal Orchestra car record. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop, and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools, and the alluring darkness that lurks below perfect, pristine surfaces. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
March 17 street date. "V" is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, "V" is the definitive Unknown Mortal Orchestra car record. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop, and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools, and the alluring darkness that lurks below perfect, pristine surfaces. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
March 17 street date. "V" is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, "V" is the definitive Unknown Mortal Orchestra car record. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop, and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools, and the alluring darkness that lurks below perfect, pristine surfaces. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
March 17 street date. "V" is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, "V" is the definitive Unknown Mortal Orchestra car record. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop, and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools, and the alluring darkness that lurks below perfect, pristine surfaces. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
March 24 street date. London-based artist Lucinda Chua presents her debut solo album, "YIAN". The title means swallow in Chinese, and is part of "Siew Yian," the name given to Chua by her parents to preserve a connection with Chinese heritage. Just as the migratory songbird lives between places, so does Chua; she's lived in the in-between of the English, Malaysian and Chinese cultures that make up her heritage. Yet in the absence of Mandarin as a mother tongue, music became a way to express the parts of herself that couldn’t be described in words; "YIAN" emerged as a way to heal. After collaborating with FKA Twigs (along with playing in her live band), and releasing 2 acclaimed EP's, Lucinda Chua has reinvented her identity through her artistic craft by respecting the past, yet building upon it in search for a feeling of freedom.
March 24 street date. London-based artist Lucinda Chua presents her debut solo album, "YIAN". The title means swallow in Chinese, and is part of "Siew Yian," the name given to Chua by her parents to preserve a connection with Chinese heritage. Just as the migratory songbird lives between places, so does Chua; she's lived in the in-between of the English, Malaysian and Chinese cultures that make up her heritage. Yet in the absence of Mandarin as a mother tongue, music became a way to express the parts of herself that couldn’t be described in words; "YIAN" emerged as a way to heal. After collaborating with FKA Twigs (along with playing in her live band), and releasing 2 acclaimed EP's, Lucinda Chua has reinvented her identity through her artistic craft by respecting the past, yet building upon it in search for a feeling of freedom.
March 24 street date. As badly as we want our trajectory to be linear and to make logical sense, sometimes life has other plans for us. We have to listen to that little voice within, whispering: rebel against the status quo. This has been the experience of singer, songwriter, multi-instrumentalist, and composer Kate Davis, where she hits the brakes on the life she thought she knew, grabbed the creative reins and rebuilt her artistic foundation. As she walks away from her previous life as a conservatory-trained jazz musician and into her future as an experimental art-rock singer, Davis has found a new home within herself. With time, Davis found a way to take control of her musical destiny and define her own path, which is illustrated with vivid clarity on the highly conceptual "Fish Bowl", coming three years after her debut album, "Trophy". Across the album's 12 deeply personal tracks, Davis traces her very own hero's journey, from the moment she steps away from her old life to the moment she finds inner peace. As Davis continues to push forward with clear-eyed determination, the indie rock world is about to gain a new sonic voyager.
March 24 street date. "Lori" finds Iron & Wine's Sam Beam drawing from the songbook of noted singer-songwriter and multiple Grammy winner Lori McKenna. Recorded at the famed Sam Phillips Studios (Memphis, TN) with producer Matt Ross-Spang, Beam takes on four of his favorite McKenna tracks with help from Sima Cunningham and Macie Stewart, known collectively for their work in the indie-art-pop band Finom (formerly known as Ohmme). Cunningham and Stewart bring their own touches to "Lori" and helped Beam find even further depths to McKenna's songwriting. Together the trio sonically re-interpreted her plaintive odes into a tapestry of sounds - effortlessly blending their signature singing styles and breathing fresh life into the lyrics. 4 tracks. Limited to 2000 copies.
March 24 street date. Dublin-based band Lankum present their fourth record, and third for Rough Trade, "False Lankum". 12 tracks, composed of 10 traditional songs and two originals, show the four-piece using a new palate to colour their sound in an increasingly experimental way, leaning into heavy drones and sonic distortion that imparts new intensity and beauty into each offering. From the start, the band planned for "False Lankum" to feel like a complete piece - a progression and a journey for the listener. "We wanted to create more contrast on the record so the light parts would be almost spiritual and the dark parts would be incredibly dark, even horror inducing," they explain. Breaking out from the folk genre Lankum are creating bold, contemporary music that may be fashioned from traditional elements but is firmly new, sitting comfortably alongside Rough Trade labelmates like black midi and Gilla Band.
March 24 street date. Dublin-based band Lankum present their fourth record, and third for Rough Trade, "False Lankum". 12 tracks, composed of 10 traditional songs and two originals, show the four-piece using a new palate to colour their sound in an increasingly experimental way, leaning into heavy drones and sonic distortion that imparts new intensity and beauty into each offering. From the start, the band planned for "False Lankum" to feel like a complete piece - a progression and a journey for the listener. "We wanted to create more contrast on the record so the light parts would be almost spiritual and the dark parts would be incredibly dark, even horror inducing," they explain. Breaking out from the folk genre Lankum are creating bold, contemporary music that may be fashioned from traditional elements but is firmly new, sitting comfortably alongside Rough Trade labelmates like black midi and Gilla Band.
March 24 street date. Dublin-based band Lankum present their fourth record, and third for Rough Trade, "False Lankum". 12 tracks, composed of 10 traditional songs and two originals, show the four-piece using a new palate to colour their sound in an increasingly experimental way, leaning into heavy drones and sonic distortion that imparts new intensity and beauty into each offering. From the start, the band planned for "False Lankum" to feel like a complete piece - a progression and a journey for the listener. "We wanted to create more contrast on the record so the light parts would be almost spiritual and the dark parts would be incredibly dark, even horror inducing," they explain. Breaking out from the folk genre Lankum are creating bold, contemporary music that may be fashioned from traditional elements but is firmly new, sitting comfortably alongside Rough Trade labelmates like black midi and Gilla Band.
March 31 street date. "Miracle-Level" is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, "Miracle-Level" is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
March 31 street date. "Miracle-Level" is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, "Miracle-Level" is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
March 31 street date. "Miracle-Level" is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, "Miracle-Level" is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
March 31 street date. Only a glance at the vast catalogs of cousins Mike and Nate Kinsella shows how wide their musical interests have always been, from the idiosyncratic experiments of Nate's Birthmark and his time in Make Believe to Mike's twisting path among Cap'n Jazz, Joan Of Arc, Owls, and Owen. But at least right now, Nate and Mike's most recognizable work together may be their contributions to American Football. Lies, the new Kinsella cousin duo, represents the first time they have written together without anyone else. What's more, their gripping self-titled debut rewrites the way Nate and Mike are expected to sound, breaking free of what could have come to define them. Pulling from influences such as My Bloody Valentine, The Cure, Robyn and others, the album is full of explosive but intricate pop songs, their striking hooks nested in glorious composites of keyboard melodies and digital textures, powerhouse rhythms and sweeping strings. "Lies" charts the sometimes-difficult terrain of what it is to navigate a relationship, to power past feelings of deceit and doubt and move forward, toward an amorphous hope.
March 31 street date. Scott McMicken has always thrived on switching things up. As a founding member of Philadelphia rock mainstays Dr. Dog, McMicken and his bandmates consistently explored new sounds and new ways of writing songs across 10 gleefully eclectic albums before their 2021 hiatus. While McMicken has quietly released solo projects via cassette and vinyl on his own label Press On Records, for his latest effort, he's done something he’s only done once before: started a band. With "Shabang" comes the debut album from Scott McMicken and The Ever-Expanding, and he's made some of his freest and most adventurous music yet: a wonderfully collaborative collection of songs that feel lived in and true. By being present and living with these musicians (quite literally: McMicken and collaborator Michael Nau stayed in tents outside the studio) united under one com-mon goal, "Shabang" is full of life and endlessly candid.
March 31 street date. Scott McMicken has always thrived on switching things up. As a founding member of Philadelphia rock mainstays Dr. Dog, McMicken and his bandmates consistently explored new sounds and new ways of writing songs across 10 gleefully eclectic albums before their 2021 hiatus. While McMicken has quietly released solo projects via cassette and vinyl on his own label Press On Records, for his latest effort, he's done something he’s only done once before: started a band. With "Shabang" comes the debut album from Scott McMicken and The Ever-Expanding, and he's made some of his freest and most adventurous music yet: a wonderfully collaborative collection of songs that feel lived in and true. By being present and living with these musicians (quite literally: McMicken and collaborator Michael Nau stayed in tents outside the studio) united under one com-mon goal, "Shabang" is full of life and endlessly candid.
March 31 street date. Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album (and first for Merge) establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue As A Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. Newman discovered new vocal approaches within his own talent - there are new and rich tones to his voice throughout the album. Even as Newman embraces a collaborative spirit more than ever, "Continue As A Guest" is a testament to his ability to discover new artistic sides of himself. "Continue As A Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.
March 31 street date. Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album (and first for Merge) establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue As A Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. Newman discovered new vocal approaches within his own talent - there are new and rich tones to his voice throughout the album. Even as Newman embraces a collaborative spirit more than ever, "Continue As A Guest" is a testament to his ability to discover new artistic sides of himself. "Continue As A Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.
March 31 street date. Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album (and first for Merge) establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue As A Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. Newman discovered new vocal approaches within his own talent - there are new and rich tones to his voice throughout the album. Even as Newman embraces a collaborative spirit more than ever, "Continue As A Guest" is a testament to his ability to discover new artistic sides of himself. "Continue As A Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.
March 31 street date. "Néo-Romance" is the latest chapter of a stellar career. A trailblazer in the modern classical world, Alexandra Stréliski's minimalist, emotionally striking music has enthralled listeners the world over. Her debut album "Pianoscope" (2010), originally self-released with Stréliski's mother sending out mail-order copies from her basement, garnered increased momentum over time and built a dedicated fan base. Her music has been featured in "Dallas Buyers Club" (2013), "Demolition" (2016), and at the Academy Awards (2014). This led Stréliski to sign with Montreal-based label Secret City for her second album, 2018's "INSCAPE". The album was a stunning success, reaching Platinum status in Canada, with debut "Pianoscope" reaching Gold status simultaneously. "INSCAPE" has won multiple awards including Instrumental Album of the Year at the 2020 JUNO Awards and has over 300 million audio streams and 140k album sales to date. "Néo-Romance" is a wondrous collection of 14 songs, full of crystalline beauty and poignant, wistful melancholia; "some of the saddest music I've ever written", adds Stréliski. Some of the most stunningly beautiful, too.
March 31 street date. "Néo-Romance" is the latest chapter of a stellar career. A trailblazer in the modern classical world, Alexandra Stréliski's minimalist, emotionally striking music has enthralled listeners the world over. Her debut album "Pianoscope" (2010), originally self-released with Stréliski's mother sending out mail-order copies from her basement, garnered increased momentum over time and built a dedicated fan base. Her music has been featured in "Dallas Buyers Club" (2013), "Demolition" (2016), and at the Academy Awards (2014). This led Stréliski to sign with Montreal-based label Secret City for her second album, 2018's "INSCAPE". The album was a stunning success, reaching Platinum status in Canada, with debut "Pianoscope" reaching Gold status simultaneously. "INSCAPE" has won multiple awards including Instrumental Album of the Year at the 2020 JUNO Awards and has over 300 million audio streams and 140k album sales to date. "Néo-Romance" is a wondrous collection of 14 songs, full of crystalline beauty and poignant, wistful melancholia; "some of the saddest music I've ever written", adds Stréliski. Some of the most stunningly beautiful, too.
April 7 street date. To celebrate the 25th anniversary of Braid's iconic 1998 album "Frame & Canvas", Polyvinyl and the band are thrilled to announce a new version of the album, completely remixed, remastered, and repackaged for 2023. Originally recorded and mixed in the span of just 5 days with producer J. Robbins (The Promise Ring, Against Me!) at Inner Ear Studios in Arlington, VA, "Frame & Canvas" would eventually become a genre-defining staple and essential listening for indie/emo fans. Since its release, the album has received praise from outlets such as Stereogum and Rolling Stone, who ranked it at #5 on their "Top 40 Emo Albums of All Time" list. The band would go on to play hundreds of shows across the globe in support of "Frame & Canvas" from 1998-99 before disbanding roughly a year after the album's release. Braid's influence on the numerous bands and DIY scenes that arose in their wake is vast and undeniable. The 25th anniversary edition has also been repackaged for a deluxe vinyl release, featuring expanded artwork and additional liner notes written by each band member.
Please note new street date: April 7. From beloved composer Emahoy Tsege Mariam Gebru, a revelatory new album of piano pieces, unreleased or virtually inaccessible until now. Emahoy Tsege Mariam Gebru is a true original - an Ethiopian nun whose recordings have funded orphanages back home since the early 1960s. Her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear. This is the first archival release of the great composer's recordings since the "Éthiopiques" series reintroduced her music to the world in 2006. Drawn from original master tapes and a nearly impossible-to-find vinyl release, "Jerusalem" unveils profound new facets of Emahoy Gebru's performance and compositions. Newly remastered recordings pressed on 160g black vinyl, heavy jacket with reproduction of 1972 artwork, song notes by the artist.
Please note new street date: April 7. From beloved composer Emahoy Tsege Mariam Gebru, a revelatory new album of piano pieces, unreleased or virtually inaccessible until now. Emahoy Tsege Mariam Gebru is a true original - an Ethiopian nun whose recordings have funded orphanages back home since the early 1960s. Her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear. This is the first archival release of the great composer's recordings since the "Éthiopiques" series reintroduced her music to the world in 2006. Drawn from original master tapes and a nearly impossible-to-find vinyl release, "Jerusalem" unveils profound new facets of Emahoy Gebru's performance and compositions. Newly remastered recordings pressed on 160g black vinyl, heavy jacket with reproduction of 1972 artwork, song notes by the artist.
April 7 street date. The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted. Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on their 11th studio album, "Plastic Eternity", a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020s. Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s.
April 7 street date. The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted. Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on their 11th studio album, "Plastic Eternity", a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020s. Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s.
April 7 street date. The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted. Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on their 11th studio album, "Plastic Eternity", a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020s. Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s.
April 7 street date. RSD Essentials edition. The Offspring preserve the essential ingredients of their chosen genre - guitars grinding out three chords, shouted vocals, and plenty of vitriol - and layer them over a melodic base that packs considerable popular appeal. The singles from "Smash", the Offspring's breakthrough album, still receive considerable radio airplay: "Gotta Get Away," "Come Out and Play," and "Self Esteem." With these and the album's 11 other tracks, the band chronicles the adolescent experience with clarity and surprisingly incisive wit. That pretty much describes all of their albums, but this is the one to get. It's got more shape than their earlier material and isn't as disturbingly poppy as their more recent recordings; it's the perfect blend of riffs and rage. "Smash" is the best-selling independent album of all time with over 20 million sold worldwide.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. NYC-via-Seoul artist Yaeji, whose introspective, genre-pushing tracks have made her a global icon occupying a space all her own, presents her debut album, "With A Hammer", arriving via XL Recordings. The 13-track full-length from the producer, vocalist, DJ, visual-artist and creative director is an exploration of shapeshifting sonics - blending her dance music roots with Korean indie rock, electronica and pop from the 1990s and early 2000s. Yaeji has excavated her inner world with full force, smashing everything in order to build it back up into the true visions of her dreams. In support of "With A Hammer", Yaeji has announced Canadian tour dates in Vancouver (April 6th, Commodore Ballroom), Toronto (May 13th, Danforth Music Hall), and Montréal (May 16th, Corona Theatre).
April 7 street date. NYC-via-Seoul artist Yaeji, whose introspective, genre-pushing tracks have made her a global icon occupying a space all her own, presents her debut album, "With A Hammer", arriving via XL Recordings. The 13-track full-length from the producer, vocalist, DJ, visual-artist and creative director is an exploration of shapeshifting sonics - blending her dance music roots with Korean indie rock, electronica and pop from the 1990s and early 2000s. Yaeji has excavated her inner world with full force, smashing everything in order to build it back up into the true visions of her dreams. In support of "With A Hammer", Yaeji has announced Canadian tour dates in Vancouver (April 6th, Commodore Ballroom), Toronto (May 13th, Danforth Music Hall), and Montréal (May 16th, Corona Theatre).
April 7 street date. NYC-via-Seoul artist Yaeji, whose introspective, genre-pushing tracks have made her a global icon occupying a space all her own, presents her debut album, "With A Hammer", arriving via XL Recordings. The 13-track full-length from the producer, vocalist, DJ, visual-artist and creative director is an exploration of shapeshifting sonics - blending her dance music roots with Korean indie rock, electronica and pop from the 1990s and early 2000s. Yaeji has excavated her inner world with full force, smashing everything in order to build it back up into the true visions of her dreams. In support of "With A Hammer", Yaeji has announced Canadian tour dates in Vancouver (April 6th, Commodore Ballroom), Toronto (May 13th, Danforth Music Hall), and Montréal (May 16th, Corona Theatre).
April 21 street date. When Leon Michels and El Michels Affair released their first record, "Sounding Out The City", in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. The LP is called "Glorious Game" and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him.
April 21 street date. When Leon Michels and El Michels Affair released their first record, "Sounding Out The City", in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. The LP is called "Glorious Game" and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him.
April 21 street date. When Leon Michels and El Michels Affair released their first record, "Sounding Out The City", in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. The LP is called "Glorious Game" and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him.
April 21 street date. When Leon Michels and El Michels Affair released their first record, "Sounding Out The City", in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. The LP is called "Glorious Game" and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him.
April 14 street date. A gorgeous and gripping portrait of Fenne Lily's last two years, "Big Picture" was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid "Big Picture" is Fenne's most cohesive, resolute work to date, both lyrically and sonically. With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition - love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - "Big Picture" was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co-production), and Katy Kirby (vocals).
April 14 street date. A gorgeous and gripping portrait of Fenne Lily's last two years, "Big Picture" was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid "Big Picture" is Fenne's most cohesive, resolute work to date, both lyrically and sonically. With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition - love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - "Big Picture" was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co-production), and Katy Kirby (vocals).
April 14 street date. A gorgeous and gripping portrait of Fenne Lily's last two years, "Big Picture" was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid "Big Picture" is Fenne's most cohesive, resolute work to date, both lyrically and sonically. With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition - love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - "Big Picture" was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co-production), and Katy Kirby (vocals).
April 14 street date. A gorgeous and gripping portrait of Fenne Lily's last two years, "Big Picture" was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid "Big Picture" is Fenne's most cohesive, resolute work to date, both lyrically and sonically. With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition - love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - "Big Picture" was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co-production), and Katy Kirby (vocals).
April 14 street date. Hailing from Toronto, LØLØ has emerged as a rising star in alternative pop. She broke through with her "overkill" EP with fresh takes on awkward adolescence ("lonely and pathetic"), heartbreak ("hurt less"), and self-deprecation ("death wish"), causing People Magazine to describe her as an Emerging Artist and Spotify to include her in their EQUAL campaign highlighting rising female artists. After signing to Hopeless Records, LØLØ stepped into the spotlight with her collaboration with alt-pop artist, Maggie Lindemann. The song "debbie downer" found itself in the full suite of pop/alt playlists on Spotify, Apple, and Amazon, and brought her touring opportunities and festival appearances at Lollapalooza and Sad Summer Festival, as well as a UK/EU tour with Leah Kate. With the release of her second EP, "debbie downer", LØLØ saw success at Canadian pop radio with the catchy "u turn me on (but u give me depression)" and is continuing to help shape the alternative pop scene. For the first time on vinyl, both EPs are available in one collection on limited red vinyl.
April 14 street date. It's no secret that Epitaph Records has been the breeding ground for some of the most legendary bands in existence and Magnolia Park carry on in that tradition with their highly anticipated debut full-length, "Baku's Revenge". Since forming in Florida in 2019, the six-piece act have released an EP, mixtape, and handful of singles and toured with everyone from Sum 41 to Simple Plan as a way to bring their upbeat brand of alt-rock to the masses. While Magnolia Park's music is at times lighthearted, the ethnically diverse band are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression.
April 14 street date. It's no secret that Epitaph Records has been the breeding ground for some of the most legendary bands in existence and Magnolia Park carry on in that tradition with their highly anticipated debut full-length, "Baku's Revenge". Since forming in Florida in 2019, the six-piece act have released an EP, mixtape, and handful of singles and toured with everyone from Sum 41 to Simple Plan as a way to bring their upbeat brand of alt-rock to the masses. While Magnolia Park's music is at times lighthearted, the ethnically diverse band are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression.
April 14 street date. Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, "every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away. Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart". Now, Matsson returns as The Tallest Man on Earth with "Henry St., his sixth studio album and notably the first time he recorded an album in a band setting. Nick Sanborn (of Sylvan Esso) produced "Henry St.", which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob Moose (of Bon Iver, yMusic) on strings, and Adam Schatz on saxophone.
April 14 street date. Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, "every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away. Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart". Now, Matsson returns as The Tallest Man on Earth with "Henry St., his sixth studio album and notably the first time he recorded an album in a band setting. Nick Sanborn (of Sylvan Esso) produced "Henry St.", which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob Moose (of Bon Iver, yMusic) on strings, and Adam Schatz on saxophone.
April 14 street date. Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, "every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away. Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart". Now, Matsson returns as The Tallest Man on Earth with "Henry St., his sixth studio album and notably the first time he recorded an album in a band setting. Nick Sanborn (of Sylvan Esso) produced "Henry St.", which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob Moose (of Bon Iver, yMusic) on strings, and Adam Schatz on saxophone.
April 21 street date. "I've been focused on who I am in my music, but now I'm exploring where I am," Alfa Mist says. "I'm asking: how did I get here?". This is the journeying question that underpins Alfa's fifth album, "Variables". Traversing luscious, big band swing, head-nodding boom-bap rhythms, and yearning vocal melodies, the record is expansive, soulful and moving, in both body and spirit. On "Variables", his second release for ANTI-, Alfa achieves his most fully-realised, expressive musical work to date, coupling his keen ear for looping, memorably emotive piano melodies with intuitive grooves and a free-flowing jazz improvisation. Since the release of his first full-length project "Nocturne" in 2015, Alfa has established himself as one of the UK's most focused, in-demand and distinct musical voices. He has worked with the likes of Jordan Rakei and Tom Misch. His music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note.
April 21 street date. "I've been focused on who I am in my music, but now I'm exploring where I am," Alfa Mist says. "I'm asking: how did I get here?". This is the journeying question that underpins Alfa's fifth album, "Variables". Traversing luscious, big band swing, head-nodding boom-bap rhythms, and yearning vocal melodies, the record is expansive, soulful and moving, in both body and spirit. On "Variables", his second release for ANTI-, Alfa achieves his most fully-realised, expressive musical work to date, coupling his keen ear for looping, memorably emotive piano melodies with intuitive grooves and a free-flowing jazz improvisation. Since the release of his first full-length project "Nocturne" in 2015, Alfa has established himself as one of the UK's most focused, in-demand and distinct musical voices. He has worked with the likes of Jordan Rakei and Tom Misch. His music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note.
April 21 street date. Reissued on vinyl for the first time since 2015 to celebrate the 25th anniversary of the release of "Mass Nerder"! The overly-caffeinated nerd quartet we know as ALL first caught the pop-punk genre in a stranglehold in 1988, after years of empathizing with their fellow geeks as The Descendents. Years later, "Mass Nerder" brings you sixteen searing cuts that never dip below 210 beats per minute. Produced by Bill and Stephen at their very own Blasting Room studio in Fort Collins, CO, and featuring Milo on backing vocals, "Mass Nerder" is the house blend for dweebs and cool guys alike and is not available in decaf.
April 21 street date. "Star Eaters Delight" is Lael Neale's second album for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, "Star Eaters Delight" is a vehicle for returning, not just to civilization, but to celebration. Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from The Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson, and the Bible swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical.
April 21 street date. "Star Eaters Delight" is Lael Neale's second album for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, "Star Eaters Delight" is a vehicle for returning, not just to civilization, but to celebration. Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from The Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson, and the Bible swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical.
April 21 street date. "Star Eaters Delight" is Lael Neale's second album for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, "Star Eaters Delight" is a vehicle for returning, not just to civilization, but to celebration. Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from The Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson, and the Bible swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical.
April 28 street date. American rock band The National present their ninth studio album, "First Two Pages Of Frankenstein". Anchored by evocative melodies and an enthralling lyrical narrative, it signals a thrilling new chapter in the band's beloved discography. Channeling the group's natural chemistry, this 11-song album beautifully balances elegant musicality with The National's more idiosyncratic impulses. "To me the power of this record has to do with the intentionality and structure of the music meeting with a lot of accidental magic", says Aaron Dessner. "First Two Pages Of Frankenstein" was produced by The National at Long Pond Studios in upstate New York and features guest appearances by Taylor Swift, Phoebe Bridgers, and Sufjan Stevens. Among their upcoming Canadian dates, The National have already announced a show June 5th at Deer Lake Park in Burnaby, BC.
April 28 street date. American rock band The National present their ninth studio album, "First Two Pages Of Frankenstein". Anchored by evocative melodies and an enthralling lyrical narrative, it signals a thrilling new chapter in the band's beloved discography. Channeling the group's natural chemistry, this 11-song album beautifully balances elegant musicality with The National's more idiosyncratic impulses. "To me the power of this record has to do with the intentionality and structure of the music meeting with a lot of accidental magic", says Aaron Dessner. "First Two Pages Of Frankenstein" was produced by The National at Long Pond Studios in upstate New York and features guest appearances by Taylor Swift, Phoebe Bridgers, and Sufjan Stevens. Among their upcoming Canadian dates, The National have already announced a show June 5th at Deer Lake Park in Burnaby, BC.
April 28 street date. American rock band The National present their ninth studio album, "First Two Pages Of Frankenstein". Anchored by evocative melodies and an enthralling lyrical narrative, it signals a thrilling new chapter in the band's beloved discography. Channeling the group's natural chemistry, this 11-song album beautifully balances elegant musicality with The National's more idiosyncratic impulses. "To me the power of this record has to do with the intentionality and structure of the music meeting with a lot of accidental magic", says Aaron Dessner. "First Two Pages Of Frankenstein" was produced by The National at Long Pond Studios in upstate New York and features guest appearances by Taylor Swift, Phoebe Bridgers, and Sufjan Stevens. Among their upcoming Canadian dates, The National have already announced a show June 5th at Deer Lake Park in Burnaby, BC.
March 2 street date. Lucy Dacus’s sophomore album Historian will be released on Matador Records. It arrives two years after her 2016 debut, No Burden, which won unanimous acclaim as one of rock's most promising new voices, alongside breakout single ‘I Don’t Want To Be Funny Anymore’. Historian is a remarkably assured 10-track statement of intent that finds Dacus unafraid to take on the big questions — the life-or-death reckonings, and the ones that just feel that way. It's a record full of bracing realizations, tearful declarations and moments of hard-won peace, expressed in lyrics that feel destined for countless yearbook quotes and first tattoos. Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers, on a new level of truth-telling and melodic grace.
Please note new street date: October 28 street date. "Common Courtesy" is the fifth album from A Day to Remember and is reissued on both CD and double LP vinyl for the first time since 2016. The newly packaged vinyl includes updated cover art and pressed on lemon and clear coloured vinyl with diecut album packaging. Since its initial release in 2013, "Common Courtesy" has gone on to amass over 500k in total consumption and includes some of the band's biggest hits including "Right Back At It Again" and "Sometimes You're The Hammer, Sometimes You're The Nail". Over the course of the past several years, each of A Day To Remember's releases have hit No. 1 on Billboard's Rock, Indie and/or Alternative charts, they've sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold-selling albums and singles (and one silver album in the UK) and sold out entire continental tours, amassing a global fan-base whose members number in the millions.
Please note new street date: October 28 street date. "Common Courtesy" is the fifth album from A Day to Remember and is reissued on both CD and double LP vinyl for the first time since 2016. The newly packaged vinyl includes updated cover art and pressed on lemon and clear coloured vinyl with diecut album packaging. Since its initial release in 2013, "Common Courtesy" has gone on to amass over 500k in total consumption and includes some of the band's biggest hits including "Right Back At It Again" and "Sometimes You're The Hammer, Sometimes You're The Nail". Over the course of the past several years, each of A Day To Remember's releases have hit No. 1 on Billboard's Rock, Indie and/or Alternative charts, they've sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold-selling albums and singles (and one silver album in the UK) and sold out entire continental tours, amassing a global fan-base whose members number in the millions.
July 29 street date. This summer, Merge will reissue A Giant Dog's first two full-lengths - 2012's "Fight" and 2013's "Bone" on limited edition coloured vinyl, reintroducing the world to the quintet Spoon's Britt Daniel calls "the greatest American rock and roll/punk band since I don't know when". Recording for the first time with a proper producer (Mike McCarthy) in a proper environment (a studio lol), "Bone", on pink vinyl for this reissue, still manages to kool-aid man its way through the speakers with the immediacy of the band's live shows, a hit parade for the party people. Sabrina Ellis and Andrew Cashen add another baker’s dozen tunes to the band's repertoire just a year following their debut, with songs like "All I Wanted", "Dammit Pomegranate", and "Another World" cementing them as a conspicuous songwriting duo.
July 29 street date. This summer, Merge will reissue A Giant Dog's first two full-lengths - 2012's "Fight" and 2013's "Bone" on limited edition coloured vinyl, reintroducing the world to the quintet Spoon's Britt Daniel calls "the greatest American rock and roll/punk band since I don't know when". Celebrating its tenth birthday in 2022 is A "Fight", the Texas group's hard-to-find debut album, remixed, remastered, and pressed on green vinyl just for the occasion. All the trademark tenets of AGD lore are on display at the jump: monstrously adorable album art and punny title, whip-smart songwriting dolled up in denim and leather, boiled down to the sweetest moments and blown out to the masses with bravado to spare. Upon the original release of "Fight", the local Austin Chronicle raved: "the raucous, low-rent squall quakes with affirmative abandon, while a just-right dose of pop girds the buzz and yowl".
September 24 street date. Less than two years after its predecessor's release, A Pale Horse Named Death are poised to unveil their fourth full-length album, "Infernum In Terra". Sal Abruscato's latest collection of crestfallen anthems showcases a bold and adventurous new upgrade for APHND's trademark sound, with greater subtleties and depths but also some of the heaviest, gnarliest riffs the band have ever unleashed. Combined with a production that fills the room with sparkling clarity and choking gloom, "Infernum In Terra" will satisfy every last one of the New Yorkers' fans, while expanding Abruscato's singular vision beyond all expectation. New songs like "Cast Out From The Sky" and visceral and epic first single "Reflections Of The Dead" are, of course, sodden with misery and emotional turmoil, but previous albums' myopic approach has been rejected here. Instead, "Infernum In Terra" makes intermittent concessions to a more outward-looking perspective, enabling A Pale Horse Named Death to pass through fresh thematic territory.
September 24 street date. Less than two years after its predecessor's release, A Pale Horse Named Death are poised to unveil their fourth full-length album, "Infernum In Terra". Sal Abruscato's latest collection of crestfallen anthems showcases a bold and adventurous new upgrade for APHND's trademark sound, with greater subtleties and depths but also some of the heaviest, gnarliest riffs the band have ever unleashed. Combined with a production that fills the room with sparkling clarity and choking gloom, "Infernum In Terra" will satisfy every last one of the New Yorkers' fans, while expanding Abruscato's singular vision beyond all expectation. New songs like "Cast Out From The Sky" and visceral and epic first single "Reflections Of The Dead" are, of course, sodden with misery and emotional turmoil, but previous albums' myopic approach has been rejected here. Instead, "Infernum In Terra" makes intermittent concessions to a more outward-looking perspective, enabling A Pale Horse Named Death to pass through fresh thematic territory.
September 16 street date. "I Care 4 U" is the first posthumous compilation album by the "princess of R&B", Aaliyah. Following her tragic and untimely passing, Blackground Records released a posthumous record including songs from her studio albums and previously unreleased tracks and demos, as well as hit singles and recordings that ultimately did not land on any previous albums. The compilation album was a commercial success and debuted at number three on the Billboard 200 and was certified platinum.
September 16 street date. "Ultimate Aaliyah" is the second and final compilation album by legendary R&B singer Aaliyah. Originally released by Blackground Records 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.
November 26 street date. For her Christmas album, Lee Aaron and her band have put together a collection of tracks that showcase Aaron's unique vocal range of rockers, blues and jazz-oriented material. Thus, the album features established favorites like Darlene Love's "Baby Please Come Home," Slade's "'Merry Christmas Everybody'" and a raucous cover of Chuck Berry's "Run Run Rudolph." But also obscure tracks like The Eels' "Everything Is Gonna Be Cool This Christmas" and The Sonics' punky "Don't Believe In Christmas," Over The Rhine's blues-tinged "All I Ever Get For Christmas Is Blue," an accapella version of Joni Mitchell's "The Fiddle and the Drum," and a jazzy arrangement of Louis Armstrong's "Zat You Santa Claus." And to top it off, a rockin' cover of "It Doesn't Often Snow At Christmas" by the Pet Shop Boys. "Making a Christmas album became a passion project, not only to keep my band family together this year, but we also wanted to make something as a gift for our fans to lift their spirits during these difficult times," explains Lee Aaron.
Please note new street date: December 9. Lee Aaron is on a roll. The award winning, songwriter, producer, and vocalist blazed back onto the rock scene in 2016 (after a ten year hiatus to raise her family) with a wealth of original material and more firecracker energy than artists half her age. She's since produced 6 new releases, with "Elevate" being the latest and possibly coolest addition to this renewed chapter in her illustrious career. "Elevate" contains ten original tracks steeped in what has become Aaron's signature sound: big guitar hooks, powerful, bluesy vocals, rich melodies and harmonies and just enough sassy attitude to tip the scales. After forging a strong friendship and working relationship with Mike Fraser (AC/DC, Aerosmith, Bon Jovi, Bryan Adams) on the last album, he once again teams up with Lee and the band for "Elevate" as recording and mix engineer.
Please note new street date: December 9. Lee Aaron is on a roll. The award winning, songwriter, producer, and vocalist blazed back onto the rock scene in 2016 (after a ten year hiatus to raise her family) with a wealth of original material and more firecracker energy than artists half her age. She's since produced 6 new releases, with "Elevate" being the latest and possibly coolest addition to this renewed chapter in her illustrious career. "Elevate" contains ten original tracks steeped in what has become Aaron's signature sound: big guitar hooks, powerful, bluesy vocals, rich melodies and harmonies and just enough sassy attitude to tip the scales. After forging a strong friendship and working relationship with Mike Fraser (AC/DC, Aerosmith, Bon Jovi, Bryan Adams) on the last album, he once again teams up with Lee and the band for "Elevate" as recording and mix engineer.
Please note new street date: December 9. Lee Aaron is on a roll. The award winning, songwriter, producer, and vocalist blazed back onto the rock scene in 2016 (after a ten year hiatus to raise her family) with a wealth of original material and more firecracker energy than artists half her age. She's since produced 6 new releases, with "Elevate" being the latest and possibly coolest addition to this renewed chapter in her illustrious career. "Elevate" contains ten original tracks steeped in what has become Aaron's signature sound: big guitar hooks, powerful, bluesy vocals, rich melodies and harmonies and just enough sassy attitude to tip the scales. After forging a strong friendship and working relationship with Mike Fraser (AC/DC, Aerosmith, Bon Jovi, Bryan Adams) on the last album, he once again teams up with Lee and the band for "Elevate" as recording and mix engineer.
July 23 street date. Lee Aaron, the metal queen herself, is back with her new album "Radio On!". On 12 brand new songs, the exceptional singer shows herself from her strongest side and fulfils all expectations that one can have of a great rock album. Just like the numerous FM stations that once ruled the airwaves, "Radio On!" is an album packed with classic, melodic rock hooks, nasty guitar riffs, big harmonies and inspired songwriting. Lee Aaron combines these qualities through catchy, soaring melodies carried by her unique, versatile voice. "Radio On!" is an album of non-stop versatile melodic rock at its best.
June 11 street date. "Big Colors is the soundtrack to a movie from 1984 that exists only in my soul. It's a cliché inside a watercolor painting of neon blue smoke rising up off summer streets in the night. It's the most New York California album I could cut loose from my musical soul, and for me as both a guitar player and songwriter, this is the zenith point dream time. While I won't be able to match this album for its depth and broad color forms in the future, this is the sound of my soul and a door to a place I'll be returning to again. The treasures in our past are the shamanic visions of the future when the destination is dream zone 3000. This is that. I'm only dreaming in Big Colors now" - Ryan Adams. Vinyl edition coming later this year.
March 19 street date (CD) / May 14 (LP). Ryan Adams' first album in three years, "Wednesdays", is purely raw, vulnerable, and honest. The music takes you on a deep dive exploring the complex heart of Ryan Adams, through a journey of love, pain, and heartbreak. The album so effortlessly creates an immediate connection with anyone who has ever experienced love lost - the type of love that haunts you in quiet places of your mind. While the lyrics walk you through the vast emotional layers of grief, they also remind you of the rich memories of a love that will forever remain a part of you.
Please note new street date for LP: May 14. Ryan Adams' first album in three years, "Wednesdays", is purely raw, vulnerable, and honest. The music takes you on a deep dive exploring the complex heart of Ryan Adams, through a journey of love, pain, and heartbreak. The album so effortlessly creates an immediate connection with anyone who has ever experienced love lost - the type of love that haunts you in quiet places of your mind. While the lyrics walk you through the vast emotional layers of grief, they also remind you of the rich memories of a love that will forever remain a part of you.
Please note new street date: May 15. "Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
Please note new street date: May 15. "Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
December 10 street date. Aeon Station's "Observatory" is an epic statement more than a decade in the making, with miles of timeless melodies and the kind of overpowering songwriting that will reaffirm your belief in life itself. Longtime Wrens member Kevin Whelan's first solo album draws heavily from the perseverance of the soul, resulting in rock music possessing an infectious and inspiring sonic uplift. If you're familiar with Whelan's past work, these ten tracks bear a certain and unmistakable familiarity - but they also mark an exciting new chapter in Whelan's musical career, as he steps out with more vulnerability than ever before. Whelan's scope of musical vision on "Observatory" is wide open and free with possibilities - at once recalling the reflective wisdom of Bruce Springsteen, Broken Social Scene's huge anthemic burn, and the Wrens' own pulsing-with-life take on rock music. First vinyl pressing on cloudy blue vinyl.
December 10 street date. Aeon Station's "Observatory" is an epic statement more than a decade in the making, with miles of timeless melodies and the kind of overpowering songwriting that will reaffirm your belief in life itself. Longtime Wrens member Kevin Whelan's first solo album draws heavily from the perseverance of the soul, resulting in rock music possessing an infectious and inspiring sonic uplift. If you're familiar with Whelan's past work, these ten tracks bear a certain and unmistakable familiarity - but they also mark an exciting new chapter in Whelan's musical career, as he steps out with more vulnerability than ever before. Whelan's scope of musical vision on "Observatory" is wide open and free with possibilities - at once recalling the reflective wisdom of Bruce Springsteen, Broken Social Scene's huge anthemic burn, and the Wrens' own pulsing-with-life take on rock music. First vinyl pressing on cloudy blue vinyl.
July 16 street date. The explosion of indie Hip Hop labels in the early 1990s resulted in an ongoing snowball effect that started to shift the narrative around an artist's need to sign to a major label. Coincidentally, quality home recording equipment was also becoming more easily accessible and, with the rising popularity of CD-R technology, this allowed artists to write, record, and manufacture their own albums right at home. "Appleseed" was a highly celebrated and influential release from that era, cementing Aesop Rock as a new face whose talent could not be denied. The album explores creative concepts with inventive writing and stripped-down yet melodic and melancholic production. Finally, 21 years after its debut, "Appleseed" officially returns, now available on all digital platforms, as well as on vinyl for the first time!
July 16 street date. The explosion of indie Hip Hop labels in the early 1990s resulted in an ongoing snowball effect that started to shift the narrative around an artist's need to sign to a major label. Coincidentally, quality home recording equipment was also becoming more easily accessible and, with the rising popularity of CD-R technology, this allowed artists to write, record, and manufacture their own albums right at home. "Appleseed" was a highly celebrated and influential release from that era, cementing Aesop Rock as a new face whose talent could not be denied. The album explores creative concepts with inventive writing and stripped-down yet melodic and melancholic production. Finally, 21 years after its debut, "Appleseed" officially returns, now available on all digital platforms, as well as on vinyl for the first time!
October 14 street date. Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation. "Lice". Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's "Lice" is finally available to fans everywhere. The first in a series of EP releases, "Lice" featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale. and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.
November 12 street date. When Aesop Rock debuted in the late 1990s with "Music For Earthworms" and "Appleseed", Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop's most popular songs to date; "Daylight" and "None Shall Pass". In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop's solo releases and group projects, and Aesop has made a handful of guest features on Blockhead's solo projects, but in all that time, Aesop and Block have never done a full album together, until now! "Garbology" came together over the course of the pandemic, as well as in the midst of Aesop processing the loss of a close friend in January of 2020, resulting in a period of time of feeling uncreative. "Garbology" encapsulates the soundtrack of current times, capturing a snapshot of Aes and Block expressing a means of entertaining themselves in the midst of less social interactions than usual.
November 12 street date. When Aesop Rock debuted in the late 1990s with "Music For Earthworms" and "Appleseed", Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop's most popular songs to date; "Daylight" and "None Shall Pass". In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop's solo releases and group projects, and Aesop has made a handful of guest features on Blockhead's solo projects, but in all that time, Aesop and Block have never done a full album together, until now! "Garbology" came together over the course of the pandemic, as well as in the midst of Aesop processing the loss of a close friend in January of 2020, resulting in a period of time of feeling uncreative. "Garbology" encapsulates the soundtrack of current times, capturing a snapshot of Aes and Block expressing a means of entertaining themselves in the midst of less social interactions than usual.
October 14 street date. Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's "Lice Two: Still Buggin'" is finally available to fans everywhere. The second in a series of EP releases, "Lice Two: Still Buggin'" featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC, and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish.
October 14 street date. Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's "Triple Fat Lice" is finally available to fans everywhere. The third in a series of EP releases, "Triple Fat Lice" featured production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris, and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish.
August 13 street date. Lydia Ainsworth's latest album "Sparkles & Debris" reflects her usual composer's mindset and instinct for idiosyncratic melodies and structures. It also marks a departure from the more solitary creative process that her previous releases were born from. The record blends live drums, guitars and bass with her signature vast electronic landscapes, samples, programming, and voice to create the record's sonic tapestry. "Longing seems to be a major theme running through my songs on this album", says Ainsworth. "Whether that is longing in love, longing to be free from oppression, or longing for the muse of inspiration to make an appearance. I have included some spells and charms in there as well that have proven effective, if any ofmy listeners want to use them for help with their own desires".
August 13 street date. Lydia Ainsworth's latest album "Sparkles & Debris" reflects her usual composer's mindset and instinct for idiosyncratic melodies and structures. It also marks a departure from the more solitary creative process that her previous releases were born from. The record blends live drums, guitars and bass with her signature vast electronic landscapes, samples, programming, and voice to create the record's sonic tapestry. "Longing seems to be a major theme running through my songs on this album", says Ainsworth. "Whether that is longing in love, longing to be free from oppression, or longing for the muse of inspiration to make an appearance. I have included some spells and charms in there as well that have proven effective, if any ofmy listeners want to use them for help with their own desires".
November 12 street date. "The Nearer The Fountain, More Pure The Stream Flows" was originally intended as an orchestral piece inspired by the landscapes of Iceland. This last year has seen Damon Albarn return to music in lockdown and develop the work to 11 tracks which further explore themes of fragility, loss, emergence and rebirth. The result is a panoramic collection of songs with Albarn as storyteller. The album title is taken from a John Clare poem "Love and Memory". Albarn says "I have been on my own dark journey while making this record and it led me to believe that a pure source might still exist". In a career of perpetual musical shifts and exploration, the record uncovers yet more ground, finding expansive orchestral arrangements nestling with intimate melodies, discordance brushing up against infectious majesty, all set to some of Albarn's most arresting vocal performances to date. Much like the beauty and chaos of the natural world it soundtracks, "The Nearer The Fountain, More Pure The Stream Flows" vividly documents the emotional ebb and flow of the human condition, in all its extremes, serving as a soul enriching document for our times.
November 12 street date. "The Nearer The Fountain, More Pure The Stream Flows" was originally intended as an orchestral piece inspired by the landscapes of Iceland. This last year has seen Damon Albarn return to music in lockdown and develop the work to 11 tracks which further explore themes of fragility, loss, emergence and rebirth. The result is a panoramic collection of songs with Albarn as storyteller. The album title is taken from a John Clare poem "Love and Memory". Albarn says "I have been on my own dark journey while making this record and it led me to believe that a pure source might still exist". In a career of perpetual musical shifts and exploration, the record uncovers yet more ground, finding expansive orchestral arrangements nestling with intimate melodies, discordance brushing up against infectious majesty, all set to some of Albarn's most arresting vocal performances to date. Much like the beauty and chaos of the natural world it soundtracks, "The Nearer The Fountain, More Pure The Stream Flows" vividly documents the emotional ebb and flow of the human condition, in all its extremes, serving as a soul enriching document for our times.
November 12 street date. "The Nearer The Fountain, More Pure The Stream Flows" was originally intended as an orchestral piece inspired by the landscapes of Iceland. This last year has seen Damon Albarn return to music in lockdown and develop the work to 11 tracks which further explore themes of fragility, loss, emergence and rebirth. The result is a panoramic collection of songs with Albarn as storyteller. The album title is taken from a John Clare poem "Love and Memory". Albarn says "I have been on my own dark journey while making this record and it led me to believe that a pure source might still exist". In a career of perpetual musical shifts and exploration, the record uncovers yet more ground, finding expansive orchestral arrangements nestling with intimate melodies, discordance brushing up against infectious majesty, all set to some of Albarn's most arresting vocal performances to date. Much like the beauty and chaos of the natural world it soundtracks, "The Nearer The Fountain, More Pure The Stream Flows" vividly documents the emotional ebb and flow of the human condition, in all its extremes, serving as a soul enriching document for our times.
April 23 street date. Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians who've taken on jazz as their musical narrative. On his new album "Bring Backs" the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, "Antiphon" and the 2019 album "Structuralism" were both self-released on his Sekito label. His latest endeavour, 2021's "Bring Backs", sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.
April 23 street date. Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians who've taken on jazz as their musical narrative. On his new album "Bring Backs" the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, "Antiphon" and the 2019 album "Structuralism" were both self-released on his Sekito label. His latest endeavour, 2021's "Bring Backs", sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.
July 29 street date. After touring together and courting similar fans, Alkaline Trio and Hot Water Music decided to band together for a split featuring original material and covers of each other's most popular tracks. The release finds Alkaline Trio covering Hot Water Music's "Rooftops" and Hot Water Music contributing covers of Alkaline Trio's "Radio" and "Bleeder". This 20th anniversary pressing is the first time the split has been released with the full album packaging and on standard vinyl.
May 6 street date. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship - the ways sex and violence stitch and sever the ties of family, faith, and society - with skewering satire and affection alike. 1983's "Bloodlines" compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from "Juarez"; the irreverent hellfire-hitchhiker-on-highway ballad "Gimme a Ride to Heaven Boy" (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight-year-old Natalie Maines, later covered by Lucinda Williams). This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate artwork and photos by Allen and friends; an insert with lyrics and original notes; and a high-res download code.
May 6 street date. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship - the ways sex and violence stitch and sever the ties of family, faith, and society - with skewering satire and affection alike. 1983's "Bloodlines" compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from "Juarez"; the irreverent hellfire-hitchhiker-on-highway ballad "Gimme a Ride to Heaven Boy" (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight-year-old Natalie Maines, later covered by Lucinda Williams). This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate artwork and photos by Allen and friends; an insert with lyrics and original notes; and a high-res download code.
May 6 street date. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen's masterpiece "Lubbock (on everything)", the feral follow-up "Smokin The Dummy" is less conceptually focused but more sonically and stylistically unified than its predecessor - it's also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. The first album by Allen to share top billing with the Panhandle Mystery Band, here featuring Jesse Taylor on blistering lead guitar alongside the Maines brothers and Richard Bowden, "Smokin The Dummy" documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, Terry's letter to H.C. Westermann about the songs, and a high-res download code.
May 6 street date. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen's masterpiece "Lubbock (on everything)", the feral follow-up "Smokin The Dummy" is less conceptually focused but more sonically and stylistically unified than its predecessor - it's also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. The first album by Allen to share top billing with the Panhandle Mystery Band, here featuring Jesse Taylor on blistering lead guitar alongside the Maines brothers and Richard Bowden, "Smokin The Dummy" documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, Terry's letter to H.C. Westermann about the songs, and a high-res download code.
January 24 street date. "A true legend and a hero. I love Terry's music so much" - Kurt Vile. Iconic and iconoclastic Texan songwriter and visual artist Terry Allen's heartbreaking, hilarious new album, his first set of new songs since 2013's "Bottom Of The World", features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville's masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to "Lubbock (on everything)", "Just Like Moby Dick" casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates, the wars in Iraq and Afghanistan, a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. The deluxe tip-on gatefold 2xLP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth-side vinyl etching artwork by Allen.
January 24 street date. "A true legend and a hero. I love Terry's music so much" - Kurt Vile. Iconic and iconoclastic Texan songwriter and visual artist Terry Allen's heartbreaking, hilarious new album, his first set of new songs since 2013's "Bottom Of The World", features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville's masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to "Lubbock (on everything)", "Just Like Moby Dick" casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates, the wars in Iraq and Afghanistan, a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. The deluxe tip-on gatefold 2xLP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth-side vinyl etching artwork by Allen.
Street date: June 10 (LP) / CD available now (lower price). There's nothing like the sound of a world-class bluesman getting back to business. Last October, when Bernard Allison returned to his old haunt of Bessie Blue Studios, Tennessee, to be greeted by fabled producer and career-long collaborator Jim Gaines, it felt like coming home. And when Allison fired up the amps, counted in the band and embarked upon his latest studio album, "Highs & Lows", everything felt right with the world. For 56 years, music has been Bernard Allison's essence. As the youngest son of the much-missed Chicago bandleader Luther Allison, he was a bluesman from birth, naturally drawn to this ancient music that seemed to heal deep wounds, and held spellbound by early encounters with heavyweights like Muddy Waters, Albert King and Hound Dog Taylor.
CD available now (lower price)/LP street date June 10. There's nothing like the sound of a world-class bluesman getting back to business. Last October, when Bernard Allison returned to his old haunt of Bessie Blue Studios, Tennessee, to be greeted by fabled producer and career-long collaborator Jim Gaines, it felt like coming home. And when Allison fired up the amps, counted in the band and embarked upon his latest studio album, "Highs & Lows", everything felt right with the world. For 56 years, music has been Bernard Allison's essence. As the youngest son of the much-missed Chicago bandleader Luther Allison, he was a bluesman from birth, naturally drawn to this ancient music that seemed to heal deep wounds, and held spellbound by early encounters with heavyweights like Muddy Waters, Albert King and Hound Dog Taylor.
February 11 street date. Looking at Dan Andriano's catalog, one might assume that making new music is old hat for the veteran vocalist, songwriter, bassist and primary member of the beloved Chicago punk outfit Alkaline Trio. Decades into his prolific career, though, Andriano is just as in love with the process as he was in those early days of sweaty clubs and cramped vans. On his new Epitaph Records album, "Dear Darkness", that unceasing passion is evident on this solo, self-produced project (which follows his 2015 release "Party Adjacent"), finding Andriano venturing into deeply personal lyrical territory while also pushing the limits of just what his unclassifiable sound can be.
February 11 street date. Looking at Dan Andriano's catalog, one might assume that making new music is old hat for the veteran vocalist, songwriter, bassist and primary member of the beloved Chicago punk outfit Alkaline Trio. Decades into his prolific career, though, Andriano is just as in love with the process as he was in those early days of sweaty clubs and cramped vans. On his new Epitaph Records album, "Dear Darkness", that unceasing passion is evident on this solo, self-produced project (which follows his 2015 release "Party Adjacent"), finding Andriano venturing into deeply personal lyrical territory while also pushing the limits of just what his unclassifiable sound can be.
Available now. Toronto-based French/American Jazz singer Laura Anglade is making a name for herself in the jazz world. Continuing the tradition of the great ladies of jazz - Laura's singing is reminiscent of many of the great vocal stylists of the 20th century including Anita O'Day, Shirley Horn, and Blossom Dearie, but her voice is uniquely her own. Accompanied by guitarist Sam Kirmayer (and accordionist Benjamin Rosenblum on two tracks), their new recording "Venez donc chez moi" is an homage of sorts, and a nod to Laura's beloved France. It features jazz versions of French classics made famous by Maurice Chevalier, Boris Vian, Edith Piaf, and Jacques Brel to name a few. She digs emotionally and eloquently into a standard, her story-telling abilities portray a soul beyond her years.
July 23 street date. When asked to describe the circumstances that influenced her beautifully fraught new work, Berlin-based musician Annika Henderson - better known simply as Anika - quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art - or simply tried to live through - the recent global pandemic. Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite "Anika", the artist suddenly found herself with a lot to say. Recorded at a time when literally everyone in the world was being forced to take stock, rethink, and reimagine their own place in the cosmos of things, Anika provides the wisened perspective of an outsider. It's a perspective that is not lost on the British ex-pat and former political journalist. Despite the subject matter and the circumstances around its creation, "Change" itself is ultimately a treatise on optimism.
July 23 street date. When asked to describe the circumstances that influenced her beautifully fraught new work, Berlin-based musician Annika Henderson - better known simply as Anika - quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art - or simply tried to live through - the recent global pandemic. Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite "Anika", the artist suddenly found herself with a lot to say. Recorded at a time when literally everyone in the world was being forced to take stock, rethink, and reimagine their own place in the cosmos of things, Anika provides the wisened perspective of an outsider. It's a perspective that is not lost on the British ex-pat and former political journalist. Despite the subject matter and the circumstances around its creation, "Change" itself is ultimately a treatise on optimism.
July 23 street date. When asked to describe the circumstances that influenced her beautifully fraught new work, Berlin-based musician Annika Henderson - better known simply as Anika - quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art - or simply tried to live through - the recent global pandemic. Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite "Anika", the artist suddenly found herself with a lot to say. Recorded at a time when literally everyone in the world was being forced to take stock, rethink, and reimagine their own place in the cosmos of things, Anika provides the wisened perspective of an outsider. It's a perspective that is not lost on the British ex-pat and former political journalist. Despite the subject matter and the circumstances around its creation, "Change" itself is ultimately a treatise on optimism.
July 23 street date. When asked to describe the circumstances that influenced her beautifully fraught new work, Berlin-based musician Annika Henderson - better known simply as Anika - quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art - or simply tried to live through - the recent global pandemic. Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite "Anika", the artist suddenly found herself with a lot to say. Recorded at a time when literally everyone in the world was being forced to take stock, rethink, and reimagine their own place in the cosmos of things, Anika provides the wisened perspective of an outsider. It's a perspective that is not lost on the British ex-pat and former political journalist. Despite the subject matter and the circumstances around its creation, "Change" itself is ultimately a treatise on optimism.
October 14 street date. Limited 10 year anniversary red vinyl edition of Anti-Flag's 2012 album "The General Strike". Packaged in a gatefold sleeve with a commemorative 10"x10" anniversary poster. Also includes 2 previously unreleased tracks.
March 26 street date. "Green To Gold" is the much-anticipated new album from New York based Indie/Folk band The Antlers. Perhaps what distinguishes "Green To Gold" from the rest of The Antlers' canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, "Green To Gold" is the band's first new music in nearly seven years, and easily their most luminous to date. The brighter outlook emerged, paradoxically, after a succession of ominous events. In 2015, Silberman suffered with an auditory condition that made touring near impossible and he retreated to the quiet of upstate New York to heal. His return in 2017 with a solo album was short lived when he was diagnosed with lesions on his vocal chords, which required surgery and again a quiet rest and recovery period. Singer and primary songwriter Peter Silberman explains. "I took these health obstacles as a sign that I should change course for a little while. I hadn't made a full stop like that since The Antlers began. I think the shift in tone is the result of getting older. It doesn't make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I'm sure our audience does too. "Green To Gold" is about this idea of gradual change".
March 26 street date. "Green To Gold" is the much-anticipated new album from New York based Indie/Folk band The Antlers. Perhaps what distinguishes "Green To Gold" from the rest of The Antlers' canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, "Green To Gold" is the band's first new music in nearly seven years, and easily their most luminous to date. The brighter outlook emerged, paradoxically, after a succession of ominous events. In 2015, Silberman suffered with an auditory condition that made touring near impossible and he retreated to the quiet of upstate New York to heal. His return in 2017 with a solo album was short lived when he was diagnosed with lesions on his vocal chords, which required surgery and again a quiet rest and recovery period. Singer and primary songwriter Peter Silberman explains. "I took these health obstacles as a sign that I should change course for a little while. I hadn't made a full stop like that since The Antlers began. I think the shift in tone is the result of getting older. It doesn't make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I'm sure our audience does too. "Green To Gold" is about this idea of gradual change".
March 26 street date. "Green To Gold" is the much-anticipated new album from New York based Indie/Folk band The Antlers. Perhaps what distinguishes "Green To Gold" from the rest of The Antlers' canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, "Green To Gold" is the band's first new music in nearly seven years, and easily their most luminous to date. The brighter outlook emerged, paradoxically, after a succession of ominous events. In 2015, Silberman suffered with an auditory condition that made touring near impossible and he retreated to the quiet of upstate New York to heal. His return in 2017 with a solo album was short lived when he was diagnosed with lesions on his vocal chords, which required surgery and again a quiet rest and recovery period. Singer and primary songwriter Peter Silberman explains. "I took these health obstacles as a sign that I should change course for a little while. I hadn't made a full stop like that since The Antlers began. I think the shift in tone is the result of getting older. It doesn't make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I'm sure our audience does too. "Green To Gold" is about this idea of gradual change".
June 24 street date. THE Canadian heavy metal cult band is back! Anvil proudly present their brand new (the 19th in total!) studio album, "Impact Is Imminent". Charismatic singer/guitarist Lips, drummer Robb Reiner and bass player Chris Robertson definitely deliver the goods here: both sonically and when it comes to songwriting, the new album (consisting of 14 merciless metal tracks) directly advances to a highlight in the over 40-year band history - an eventful career (also well depicted in 2009's award-winning documentary film "Anvil! The Story Of Anvil") which proves Anvil to be among the most consistent acts of the genre. Their sound and intensity was inspiration for generations of subsequent musicians and Anvil's unparalleled tenacity and unwillingness to compromise are already legendary. The fact that they are now releasing such a strong and fresh album in 2022 once again underlines the quality of the band.
May 20 street date. THE Canadian heavy metal cult band is back! Anvil proudly present their brand new (the 19th in total!) studio album, "Impact Is Imminent". Charismatic singer/guitarist Lips, drummer Robb Reiner and bass player Chris Robertson definitely deliver the goods here: both sonically and when it comes to songwriting, the new album (consisting of 14 merciless metal tracks) directly advances to a highlight in the over 40-year band history - an eventful career (also well depicted in 2009's award-winning documentary film "Anvil! The Story Of Anvil") which proves Anvil to be among the most consistent acts of the genre. Their sound and intensity was inspiration for generations of subsequent musicians and Anvil's unparalleled tenacity and unwillingness to compromise are already legendary. The fact that they are now releasing such a strong and fresh album in 2022 once again underlines the quality of the band.
June 24 street date. THE Canadian heavy metal cult band is back! Anvil proudly present their brand new (the 19th in total!) studio album, "Impact Is Imminent". Charismatic singer/guitarist Lips, drummer Robb Reiner and bass player Chris Robertson definitely deliver the goods here: both sonically and when it comes to songwriting, the new album (consisting of 14 merciless metal tracks) directly advances to a highlight in the over 40-year band history - an eventful career (also well depicted in 2009's award-winning documentary film "Anvil! The Story Of Anvil") which proves Anvil to be among the most consistent acts of the genre. Their sound and intensity was inspiration for generations of subsequent musicians and Anvil's unparalleled tenacity and unwillingness to compromise are already legendary. The fact that they are now releasing such a strong and fresh album in 2022 once again underlines the quality of the band.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. If "KiCk I" is a multidimensional self-portrait that held all of Arca's many mutations, "KiCk ii" sees her deconstruct reggaeton rhythms she grew up listening to in Caracas, balancing structure and chaos to create her most accessible work yet without sacrificing any of her uncompromising experimentation; the rising cycle.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. "KiCk iii" sees her returning to the club nights that shaped her early adulthood where Arca was born: the surrealist DJ, warping dance music structures to fit her singular vision - relentless rhythms to drive listeners into uncharted states of euphoria, dark queer clubs of our cyberpunk near-future; the climax of the cycle.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. "KiCk iii" sees her returning to the club nights that shaped her early adulthood where Arca was born: the surrealist DJ, warping dance music structures to fit her singular vision - relentless rhythms to drive listeners into uncharted states of euphoria, dark queer clubs of our cyberpunk near-future; the climax of the cycle.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. With "KiCk iiii", the cycle resolves, and a new species of xenopop emerges, sensual and serene. Arca's talents as a composer and sound designer take the lead on closing track "Paw", setting melodies to drift on deep, gentle waves of orchestral ambience, an oceanic bliss.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. With "KiCk iiii", the cycle resolves, and a new species of xenopop emerges, sensual and serene. Arca's talents as a composer and sound designer take the lead on closing track "Paw", setting melodies to drift on deep, gentle waves of orchestral ambience, an oceanic bliss.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. On "KiCk iiiii" the ambient ecstasy transitions swiftly into lullaby-like compositions as we come to the conclusion of the "KiCk" series; the renewal stage.
May 20 street date. Produced and recorded by Arca, the "KiCk" series is an ambitious act of music world-building that has captivated fans and critics around the world. On "KiCk iiiii" the ambient ecstasy transitions swiftly into lullaby-like compositions as we come to the conclusion of the "KiCk" series; the renewal stage.
October 21 street date. As sculpted shards of guitar - tumbling, tolling, squalling - shower the jittery bounce of a piano on opener "Human", it's obvious that "Reason In Decline", Archers of Loaf's first album in 24 years, will be more than a nostalgic, low-impact reboot. When they emerged from North Carolina's 90s indie-punk incubator, the Archers' hurtling, sly, gloriously dissonant roar was a mythologized touchstone of slacker-era refusal. Eric Bachmann and Eric Johnson, once headstrong smartasses inciting a series of artful pileups on the band's four studio albums and EP, are now a fluidly complementary, sonically advanced unit. Notably, Johnson's signature trebly lines peal clearly above the din instead of struggling to be heard. Second, singer-songwriter Bachmann, after throat surgery, relearned how to sing (this time from his diaphragm); as a result, he no longer howls like the angriest head cold on the Eastern Seaboard. And now, his lyrics balance righteous wrath with a complex tangle of adult perspective. In short, this is not your father's Archers of Loaf, even if you're a father now who was a fan then.
October 21 street date. As sculpted shards of guitar - tumbling, tolling, squalling - shower the jittery bounce of a piano on opener "Human", it's obvious that "Reason In Decline", Archers of Loaf's first album in 24 years, will be more than a nostalgic, low-impact reboot. When they emerged from North Carolina's 90s indie-punk incubator, the Archers' hurtling, sly, gloriously dissonant roar was a mythologized touchstone of slacker-era refusal. Eric Bachmann and Eric Johnson, once headstrong smartasses inciting a series of artful pileups on the band's four studio albums and EP, are now a fluidly complementary, sonically advanced unit. Notably, Johnson's signature trebly lines peal clearly above the din instead of struggling to be heard. Second, singer-songwriter Bachmann, after throat surgery, relearned how to sing (this time from his diaphragm); as a result, he no longer howls like the angriest head cold on the Eastern Seaboard. And now, his lyrics balance righteous wrath with a complex tangle of adult perspective. In short, this is not your father's Archers of Loaf, even if you're a father now who was a fan then.
October 21 street date. As sculpted shards of guitar - tumbling, tolling, squalling - shower the jittery bounce of a piano on opener "Human", it's obvious that "Reason In Decline", Archers of Loaf's first album in 24 years, will be more than a nostalgic, low-impact reboot. When they emerged from North Carolina's 90s indie-punk incubator, the Archers' hurtling, sly, gloriously dissonant roar was a mythologized touchstone of slacker-era refusal. Eric Bachmann and Eric Johnson, once headstrong smartasses inciting a series of artful pileups on the band's four studio albums and EP, are now a fluidly complementary, sonically advanced unit. Notably, Johnson's signature trebly lines peal clearly above the din instead of struggling to be heard. Second, singer-songwriter Bachmann, after throat surgery, relearned how to sing (this time from his diaphragm); as a result, he no longer howls like the angriest head cold on the Eastern Seaboard. And now, his lyrics balance righteous wrath with a complex tangle of adult perspective. In short, this is not your father's Archers of Loaf, even if you're a father now who was a fan then.
February 26 street date. Architects are back with their ninth studio album "For Those That Wish To Exist". The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism.
February 26 street date. Architects are back with their ninth studio album "For Those That Wish To Exist". The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism.
March 25 street date. Architects' new album captures a historic live stream performance event at the iconic Abbey Road studios: spiritual home to legends like The Beatles and Pink Floyd. Dubbed "For Those That Wish To Exist at Abbey Road", the album features a reimagined orchestral version of their masterpiece album "For Those That Wish To Exist", backed by their friends in the Parallax Orchestra, the well-respected UK based orchestra made up of some of England's best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax Orchestra's conductor and a three times British Composer award (BASCA) winner for his compositions. Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios: "It's such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It's such a joy to even be allowed into the building, let alone to record there. It's a very special place; I still can't quite believe we were able to create there".
March 25 street date. Architects' new album captures a historic live stream performance event at the iconic Abbey Road studios: spiritual home to legends like The Beatles and Pink Floyd. Dubbed "For Those That Wish To Exist at Abbey Road", the album features a reimagined orchestral version of their masterpiece album "For Those That Wish To Exist", backed by their friends in the Parallax Orchestra, the well-respected UK based orchestra made up of some of England's best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax Orchestra's conductor and a three times British Composer award (BASCA) winner for his compositions. Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios: "It's such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It's such a joy to even be allowed into the building, let alone to record there. It's a very special place; I still can't quite believe we were able to create there".
March 25 street date. Architects' new album captures a historic live stream performance event at the iconic Abbey Road studios: spiritual home to legends like The Beatles and Pink Floyd. Dubbed "For Those That Wish To Exist at Abbey Road", the album features a reimagined orchestral version of their masterpiece album "For Those That Wish To Exist", backed by their friends in the Parallax Orchestra, the well-respected UK based orchestra made up of some of England's best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax Orchestra's conductor and a three times British Composer award (BASCA) winner for his compositions. Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios: "It's such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It's such a joy to even be allowed into the building, let alone to record there. It's a very special place; I still can't quite believe we were able to create there".
October 21 street date. Architects have delivered their 10th studio album, the follow up to their 2021 breakout album "For Those That Wish To Exist", which hit #1 on the UK sales chart. Finding yourself with a UK Number One album and selling out arenas is enough for some to repeat a winning formula. Architects however, are forever moving forward. "It was definitely validating and felt really cool for like a day", recalls drummer, producer and song-writer Dan Searle of hitting the top spot. "For a lot of the bucket list things you reach in any career, there’s a momentary gratification then you're like, "what next"? You just move on. By the time the album came out, my head was already in the mindset of "Broken Spirit". That was where I was at". Searle notes how it was their albums "Lost Forever/Lost Together", "All Our Gods Have Abandoned Us", and "Holy Hell" that really "cemented what the band was about" and "took them to a new level" as a rock powerhouse and leaders of the UK's metalcore scene.
October 21 street date. Architects have delivered their 10th studio album, the follow up to their 2021 breakout album "For Those That Wish To Exist", which hit #1 on the UK sales chart. Finding yourself with a UK Number One album and selling out arenas is enough for some to repeat a winning formula. Architects however, are forever moving forward. "It was definitely validating and felt really cool for like a day", recalls drummer, producer and song-writer Dan Searle of hitting the top spot. "For a lot of the bucket list things you reach in any career, there’s a momentary gratification then you're like, "what next"? You just move on. By the time the album came out, my head was already in the mindset of "Broken Spirit". That was where I was at". Searle notes how it was their albums "Lost Forever/Lost Together", "All Our Gods Have Abandoned Us", and "Holy Hell" that really "cemented what the band was about" and "took them to a new level" as a rock powerhouse and leaders of the UK's metalcore scene.
October 21 street date. Architects have delivered their 10th studio album, the follow up to their 2021 breakout album "For Those That Wish To Exist", which hit #1 on the UK sales chart. Finding yourself with a UK Number One album and selling out arenas is enough for some to repeat a winning formula. Architects however, are forever moving forward. "It was definitely validating and felt really cool for like a day", recalls drummer, producer and song-writer Dan Searle of hitting the top spot. "For a lot of the bucket list things you reach in any career, there’s a momentary gratification then you're like, "what next"? You just move on. By the time the album came out, my head was already in the mindset of "Broken Spirit". That was where I was at". Searle notes how it was their albums "Lost Forever/Lost Together", "All Our Gods Have Abandoned Us", and "Holy Hell" that really "cemented what the band was about" and "took them to a new level" as a rock powerhouse and leaders of the UK's metalcore scene.
August 5 street date. Art Moore make vivid, heartbreaking short stories. Each song on the newly formed band's self-titled debut album is its own individual universe of bittersweet feeling: a brief snapshot of a moment in time that captures the fragility and occasional impossibility of human connection. These songs are deft character studies, zeroing in on shy beginners, jilted friends and friendly exes, chronicling minute moments - road trips, casual dates, games of truth or dare - with rich detail and subtle wit. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it's a quietly wondrous record - a set of songs that sketch out the struggle and beauty of coping with everyday life. These are songs about tiny, unspoken feelings rendered on a grand scale, moments that often get brushed aside given the weight that they should be.
August 5 street date. Art Moore make vivid, heartbreaking short stories. Each song on the newly formed band's self-titled debut album is its own individual universe of bittersweet feeling: a brief snapshot of a moment in time that captures the fragility and occasional impossibility of human connection. These songs are deft character studies, zeroing in on shy beginners, jilted friends and friendly exes, chronicling minute moments - road trips, casual dates, games of truth or dare - with rich detail and subtle wit. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it's a quietly wondrous record - a set of songs that sketch out the struggle and beauty of coping with everyday life. These are songs about tiny, unspoken feelings rendered on a grand scale, moments that often get brushed aside given the weight that they should be.
November 6 street date. The pioneering electronic composer Mort Garson ("Mother Earth's Plantasia") takes on supernatural phenomena with lush synth grooves on "The Unexplained", his only release under the name Ataraxia. Subtitled "Electronic Musical Impressions of the Occult", the album explores tarot, astral projection, seances, and more with Garson's signature Moog synthesizer serving as the listener's tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.
November 6 street date. The pioneering electronic composer Mort Garson ("Mother Earth's Plantasia") takes on supernatural phenomena with lush synth grooves on "The Unexplained", his only release under the name Ataraxia. Subtitled "Electronic Musical Impressions of the Occult", the album explores tarot, astral projection, seances, and more with Garson's signature Moog synthesizer serving as the listener's tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.
May 27 street date. Following the release of their debut album, "Overcast!", Atmosphere was already making waves in the underground Hip-Hop scene, attracting attention for their unique combination of content, styles and sounds. Although the group was suddenly smaller due to the departure of one member, Spawn, the buzz continued to grow, as did the creative output of remaining members Slug and Ant. Over the next 3 years, the duo recorded and released a flurry of unofficial Atmosphere CD's, tapes, songs and side projects, along with pressing and distributing a string of vinyl EP's, titled "Ford One", "Ford Two", and "The Lucy EP". These vinyl EP's were ultimately consolidated onto one CD as well, for the purpose of selling on tour and distributing to retail, becoming what most considered to be Atmosphere's official sophomore album, "Lucy Ford: The Atmosphere EP's", more commonly referred to as simply "Lucy Ford". Now, in celebration of its 20th anniversary, the entire "Lucy Ford" album is finally available on 2xLP vinyl, for the first time in history.
October 22 street date. "Overcast!" marked the start of a storied career that still shows no signs of slowing. While Slug and original co-member Spawn's rhyme patterns and wordplay may have hinted at some of their influences, their creative songwriting and inventive concepts, paired with Ant's brooding and melodic production, made the album stand apart from its predecessors. Although widely considered an underground classic, the full-length "Overcast!" album was never pressed on vinyl until a limited edition pressing celebrating the album's 20th anniversary in 2017. Now re-packaged and produced for wider distribution, fans everywhere can add this re-mastered masterpiece to their collection. Celebrate Atmosphere's legacy of creative expression with the album that started it all!
October 22 street date. Atmosphere have distinguished themselves from their peers by creating albums encompassing the entire spectrum of human emotion while tethering each piece to a central aural aesthetic. 2011's "The Family Sign" took this philosophy to new realms of solidarity with Slug metaphorically touching on themes of fatherhood, loss, love, disappointment and jubilation, and tailoring them to an instrumental framework that draws emotion out of the listener, skillfully composed by producer Ant. "The Family Sign" was evidence that hip-hop wields the ultimate potential to address and convey life's virtues and shortcomings. Finally, repackaged and repressed on 2xLP vinyl, just in time for its 10th anniversary, the album features two bonus tracks, "Millenium Dodo 2" and "Cut You Down", not available on the original version, plus an exclusive 7-inch vinyl inside, featuring two additional tracks from the same recording sessions, "By Your Side" and "Bar Food".
May 15 street date. For over 20 years, Atmosphere have pursued the underbelly of what it means to be human with a rabid curiosity. Ant's dusky production has provided the pulse for Slug's evolving and matter-of-fact pen. As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America's best archivists. On "Whenever", the duo continue to move in lockstep. Within the minutiae lie clues they're still struggling with mortality and the need to protect emotional energy, as on previous releases, but there's a quiet romanticism now, with Slug sounding - reluctantly - in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. The album breathes in the way only Slug and Ant could summon a collective breath. On "Whenever", the duo inhale panic and exhale greatness.
May 15 street date. For over 20 years, Atmosphere have pursued the underbelly of what it means to be human with a rabid curiosity. Ant's dusky production has provided the pulse for Slug's evolving and matter-of-fact pen. As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America's best archivists. On "Whenever", the duo continue to move in lockstep. Within the minutiae lie clues they're still struggling with mortality and the need to protect emotional energy, as on previous releases, but there's a quiet romanticism now, with Slug sounding - reluctantly - in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. The album breathes in the way only Slug and Ant could summon a collective breath. On "Whenever", the duo inhale panic and exhale greatness.
October 8 street date. Following their last release, "The Day Before Halloween" - an imaginative, distorted-synth-driven concept album - Atmosphere returns with a refreshing new project, simply titled "WORD?". Steering back toward their signature sound, the album further highlights producer Ant's undeniable talents as the project leans into the classic boom-bap aesthetic, bringing a unique energy out of Slug's wisdom, wit and delivery. From onset, "WORD?" proves to be every bit an exercise in refining and advancing their craft as it is a harkening to earlier work. That is, while their releases have grown more broodingly cinematic, and increasingly concerned with the human condition and mortality, "WORD?" manages to reintroduce moments of levity and lightheartedness throughout, an approach seldom heard on their albums of late. Ultimately, "WORD?" pairs the breadth of Atmosphere's talents with the beauty of their growth, all while showing they still have a lot of fun in the process and don't mind letting the listener in on the fun as well.
October 8 street date. Following their last release, "The Day Before Halloween" - an imaginative, distorted-synth-driven concept album - Atmosphere returns with a refreshing new project, simply titled "WORD?". Steering back toward their signature sound, the album further highlights producer Ant's undeniable talents as the project leans into the classic boom-bap aesthetic, bringing a unique energy out of Slug's wisdom, wit and delivery. From onset, "WORD?" proves to be every bit an exercise in refining and advancing their craft as it is a harkening to earlier work. That is, while their releases have grown more broodingly cinematic, and increasingly concerned with the human condition and mortality, "WORD?" manages to reintroduce moments of levity and lightheartedness throughout, an approach seldom heard on their albums of late. Ultimately, "WORD?" pairs the breadth of Atmosphere's talents with the beauty of their growth, all while showing they still have a lot of fun in the process and don't mind letting the listener in on the fun as well.
October 22 street date. After being out of print for years, Atmosphere's fifth studio album, "You Can't Imagine How Much Fun We're Having", returns on vinyl. Following the breakthrough success of their fourth album, "Seven's Travels", the group returned in 2005, showing impressive growth and inventiveness in their new compositions. Citing inspirations from a list of less-than-expected sources, including Tom Waits, Mark Lanegan, Shawn Phillips, Spoon, The Mars Volta, alopecia, Public Enemy, Boogie Down Productions, The Beauty Pill, infected wisdom teeth, Craig Finn, TV On The Radio, Australia, and I-94 East, among others, the album pushed boundaries without overreaching.
June 3 street date. AWOLNATION's upcoming album "My Echo, My Shadow, My Covers And Me" is a fiercely collaborative and celebratory project. It's an eclectic collection of masterfully crafted and carefully curated covers, with each track featuring at least one acclaimed musical artist. It includes epic re-imaginings of classics like "Wind of Change" by the Scorpions, "Take a Chance on Me" by Abba, and "Beds are Burning" by Midnight Oil; and features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson, and more.
June 3 street date. AWOLNATION's upcoming album "My Echo, My Shadow, My Covers And Me" is a fiercely collaborative and celebratory project. It's an eclectic collection of masterfully crafted and carefully curated covers, with each track featuring at least one acclaimed musical artist. It includes epic re-imaginings of classics like "Wind of Change" by the Scorpions, "Take a Chance on Me" by Abba, and "Beds are Burning" by Midnight Oil; and features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson, and more.
November 18 street date. Reissue of Ayreon's "Universal Migrator Part I & II", originally released in 2020. These two albums continued the plot from Ayreon's ‘The Final Experiment’, and feature an extravaganza of stunning musicians and vocalists such as Bruce Dickinson (Iron Maiden), Floor Jason (Nightwish), Damian Wilson (Headspace/Threshold), Neal Morse (Spock's Beard/Flying Colors), Michael Romeo (Symphony X), and many more. Arjen Lucassen continues his crusade of remixing and remastering his finest work to absolute perfection, and "Universal Migrator Part I & II" is a stunning addition to his spectacular cannon. With the modern updates, both new and old fans now get the chance to hear these albums through the ears of Lucassen as he intended. The 2CD configuration includes the remixed and remastered version, plus a bonus disc that includes an interview with Arjen Lucassen, a music video, and previously unreleased audio (5.1 surround mix, plus 2 binaural headphone mixes and more).
November 18 street date. Reissue of Ayreon's "Universal Migrator Part I", originally released in 2020. This and Part II continued the plot from Ayreon's ‘The Final Experiment’, and feature an extravaganza of stunning musicians and vocalists such as Bruce Dickinson (Iron Maiden), Floor Jason (Nightwish), Damian Wilson (Headspace/Threshold), Neal Morse (Spock's Beard/Flying Colors), Michael Romeo (Symphony X), and many more. Arjen Lucassen continues his crusade of remixing and remastering his finest work to absolute perfection, and "Universal Migrator Part I & II" is a stunning addition to his spectacular cannon. With the modern updates, both new and old fans now get the chance to hear these albums through the ears of Lucassen as he intended. Limited to 500 copies.
November 18 street date. Reissue of Ayreon's "Universal Migrator Part I", originally released in 2020. This and Part I continued the plot from Ayreon's ‘The Final Experiment’, and feature an extravaganza of stunning musicians and vocalists such as Bruce Dickinson (Iron Maiden), Floor Jason (Nightwish), Damian Wilson (Headspace/Threshold), Neal Morse (Spock's Beard/Flying Colors), Michael Romeo (Symphony X), and many more. Arjen Lucassen continues his crusade of remixing and remastering his finest work to absolute perfection, and "Universal Migrator Part I & II" is a stunning addition to his spectacular cannon. With the modern updates, both new and old fans now get the chance to hear these albums through the ears of Lucassen as he intended. Limited to 500 copies.
July 16 street date. Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, have amassed a cult following around the globe. With a slew of classic 7" singles and two critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their third album, aptly titled "Expansions", BRSB are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. By the time the album is through Bacao has taken the listener on a journey that spans a myriad of energies, tempos, and moods while somehow managing to keep it all under one umbrella.
July 16 street date. Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, have amassed a cult following around the globe. With a slew of classic 7" singles and two critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their third album, aptly titled "Expansions", BRSB are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. By the time the album is through Bacao has taken the listener on a journey that spans a myriad of energies, tempos, and moods while somehow managing to keep it all under one umbrella.
July 16 street date. Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, have amassed a cult following around the globe. With a slew of classic 7" singles and two critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their third album, aptly titled "Expansions", BRSB are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. By the time the album is through Bacao has taken the listener on a journey that spans a myriad of energies, tempos, and moods while somehow managing to keep it all under one umbrella.
Please note new street date: June 11. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: June 11. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: June 11. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
July 30 street date. "I And I Survive" is a 1982 EP by Bad Brains, released on the heels of their iconic self-titled debut album. The four tracks come from the "Rock for Light" sessions, and were produced by Ric Ocasek. The release was previously out of print for nearly four decades. This reissue marks the third release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
February 18 street date. "Quickness" is the fourth full-length studio album by Bad Brains, originally released by Caroline Records in 1989. At the time of its release, it was the band's best selling album and also landed them a featured MTV music video for the opening track, "Soul Craft". This reissue marks the fifth release in the Bad Brains remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing. Available on LP, CD, and cassette.
February 18 street date. "Quickness" is the fourth full-length studio album by Bad Brains, originally released by Caroline Records in 1989. At the time of its release, it was the band's best selling album and also landed them a featured MTV music video for the opening track, "Soul Craft". This reissue marks the fifth release in the Bad Brains remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing. Available on LP, CD, and cassette.
February 18 street date. "Quickness" is the fourth full-length studio album by Bad Brains, originally released by Caroline Records in 1989. At the time of its release, it was the band's best selling album and also landed them a featured MTV music video for the opening track, "Soul Craft". This reissue marks the fifth release in the Bad Brains remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing. Available on LP, CD, and cassette.
November 4 street date. The first ever vinyl reissue of Bad Brains' 1993 album "Rise". Originally released by Epic Records, "Rise" was Bad Brains' major label debut, and their follow-up to 1989's "Quickness".
Please note new street date: October 8. "Rock For Light" is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. Org Music are proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: October 8. "Rock For Light" is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. Org Music are proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: October 8. "Rock For Light" is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. Org Music are proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: November 5. Yellow vinyl edition exclusively available to independent shops. "Rock For Light" is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. Org Music are proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing. Limited to 1000 copies.
January 20 street date. "The Youth Are Getting Restless" is a live album from Bad Brains, recorded at the Paradiso Theater in Amsterdam in 1987 by the VPRO. The show was part of the band's "I Against I" tour. This reissue marks the sixth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
January 20 street date. "The Youth Are Getting Restless" is a live album from Bad Brains, recorded at the Paradiso Theater in Amsterdam in 1987 by the VPRO. The show was part of the band's "I Against I" tour. This reissue marks the sixth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
January 20 street date. "The Youth Are Getting Restless" is a live album from Bad Brains, recorded at the Paradiso Theater in Amsterdam in 1987 by the VPRO. The show was part of the band's "I Against I" tour. This reissue marks the sixth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
June 19 street date. Bad Cop/Bad Cop has done angry. The band's 2017 full-length, "Warriors", was recorded in the aftermath of the 2016 presidential election. The message the band is sending this time around on their third full-length album "The Ride" is less about wagging your finger at others, or giving the middle one to the Man, than it is about self-love and acceptance. That positivity fuels many of the album's tracks. This self-love is tasking the listener with putting a fix on the problems at hand and finding it in themselves to create the life that they want. Singer Stacey Dee speaks from experience. In 2018 she was hospitalized twice for different ailments, then discovered she had stage one breast cancer at the end of the year. Fortunately it was highly treatable, but the experience was life-altering. Dee captures it with brutal frankness on "Breastless", whose bright melodies belie the struggle described in the lyrics. The perspective behind "The Ride" lends it an undeniable maturity, without losing its power. The album boasts all of the elements of Bad Cop/Bad Cop's sound: big guitars, lock-step bass and drums, intricate vocal harmonies, and plenty of attitude. The only difference this time is the attitude is encouraging, not raging.
June 19 street date. Bad Cop/Bad Cop has done angry. The band's 2017 full-length, "Warriors", was recorded in the aftermath of the 2016 presidential election. The message the band is sending this time around on their third full-length album "The Ride" is less about wagging your finger at others, or giving the middle one to the Man, than it is about self-love and acceptance. That positivity fuels many of the album's tracks. This self-love is tasking the listener with putting a fix on the problems at hand and finding it in themselves to create the life that they want. Singer Stacey Dee speaks from experience. In 2018 she was hospitalized twice for different ailments, then discovered she had stage one breast cancer at the end of the year. Fortunately it was highly treatable, but the experience was life-altering. Dee captures it with brutal frankness on "Breastless", whose bright melodies belie the struggle described in the lyrics. The perspective behind "The Ride" lends it an undeniable maturity, without losing its power. The album boasts all of the elements of Bad Cop/Bad Cop's sound: big guitars, lock-step bass and drums, intricate vocal harmonies, and plenty of attitude. The only difference this time is the attitude is encouraging, not raging.
November 11 street date. With this album a fuse was lit, leading to an explosion that spawned a new religion: Bad Religion. How Could Hell Be Any Worse?, their second record and first LP is nothing short of genius. Shattered-glass guitar riffs, fast, furious drums, and a 16 year old Greg Graffin’s voice for the ages. The coalescence of lyrical intellect and savage music make for a sound seldom (if ever) heard before. The impact of this record still resonates to this day. Classic tracks like “Fuck Armageddon... This Is Hell,” “American Dream,” and “The Voice Of God Is Government” are as crucial and socially lucid as the day they were created in a southern California garage. When the greatest punk records of all-time are discussed, How Could Hell Be Any Worse? is sure to be mentioned. Reissued on clear & black marble vinyl to celebrate the 40th anniversary!
January 28 street date. Bad Suns sound - dreamy 1980s pastiche flanked by Stratocasters through cranked Vox amps, pulsing synths, and palpable rhythmic energy - that endeared listeners to the band in the first place, and their fourth LP, "Apocalypse Whenever", uses that musical foundation as the jumping-off point for their next evolution. Conceived as "the soundtrack to a movie that doesn't yet exist", the 13-track album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his Palmquist Studios and the band's North Hollywood rehearsal spot, is more conceptually rigorous than anything they've ever attempted - but no less compelling or accessible. Their disparate influences don't just offer "Apocalypse Whenever" an expanded palette of sonic choices to color Bad Suns' airtight hooks - they help give the songs an emotional complexity that works on a multitude of levels depending on how listeners choose to receive them.
January 28 street date. Bad Suns sound - dreamy 1980s pastiche flanked by Stratocasters through cranked Vox amps, pulsing synths, and palpable rhythmic energy - that endeared listeners to the band in the first place, and their fourth LP, "Apocalypse Whenever", uses that musical foundation as the jumping-off point for their next evolution. Conceived as "the soundtrack to a movie that doesn't yet exist", the 13-track album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his Palmquist Studios and the band's North Hollywood rehearsal spot, is more conceptually rigorous than anything they've ever attempted - but no less compelling or accessible. Their disparate influences don't just offer "Apocalypse Whenever" an expanded palette of sonic choices to color Bad Suns' airtight hooks - they help give the songs an emotional complexity that works on a multitude of levels depending on how listeners choose to receive them.
January 28 street date. Bad Suns sound - dreamy 1980s pastiche flanked by Stratocasters through cranked Vox amps, pulsing synths, and palpable rhythmic energy - that endeared listeners to the band in the first place, and their fourth LP, "Apocalypse Whenever", uses that musical foundation as the jumping-off point for their next evolution. Conceived as "the soundtrack to a movie that doesn't yet exist", the 13-track album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his Palmquist Studios and the band's North Hollywood rehearsal spot, is more conceptually rigorous than anything they've ever attempted - but no less compelling or accessible. Their disparate influences don't just offer "Apocalypse Whenever" an expanded palette of sonic choices to color Bad Suns' airtight hooks - they help give the songs an emotional complexity that works on a multitude of levels depending on how listeners choose to receive them.
November 25 street date. The debut mixtape from Pro Era crew member and Brooklyn MC, Joey Bada$$. Leaning into the golden era sound of hip-hop, Joey Bada$$ garnered widespread acclaim from some of Hip-Hop's most vaunted tastemakers by crafting a project that paid homage to the 1990s, despite only being 17 years old at the time. With the standout tracks "Waves", "Survival Tactics", and "Snakes", the 15 track album features production from Chuck Strangers, Lord Finesse, MF Doom, and J Dilla, as well as guest appearances from Pro Era members Kirk Knight, CJ Fly, NYCk Caution, Rokamouth, Dessy Hinds, Dyemond Lewis, T'nah Apex, and the late Capital STEEZ. Pro Era Forever.
October 8 street date. Canadian ensemble BADBADNOTGOOD made their name by crossing genres. Instead of working within traditional jazz standards, the classically-trained group sidestepped them and drew from hip hop and other contemporary genres to create a unique sound rooted in Black American music. Yet, their latest album and first for XL Recordings, "Talk Memory", sees the band take a different tact: paying homage to the musicians, composers, innovators and influences that first informed their work. With "Talk Memory", the trio of Alexander Sowinski (drums), Chester Hansen (bass) and Leland Whitty (guitar/ woodwinds), return to their beginnings. Following years of touring, the band paused to refresh and look at their history and experiences. Rather than improvising and developing tracks on the road, this time around that gestation process happened in the studio with a bevy of musicians walking through the doors on equal footing. As a result, the album is an aural odyssey about collective balance and harmony, with all the sense of psychedelic narrative that entails.
February 12 street date. Bailter Space's "Wammo" is back in print for the first time since the album's release 25 years ago. The LP is pressed onto limited transparent orange vinyl and features newly remastered audio from the original session reels. Formed in Christchurch, New Zealand in 1987 as Nelsh Bailter Space, the band's musical family tree touches on some of the nation's most revered weirdo luminaries - including Flying Nun mainstays like the Skeptics, the Clean, and the Gordons. Bailter Space embraced chaos, but celebrated precision, finding melody amid networks of brooding noise and feedback. After relocating to New York City, the band - who by then included Alister Parker, John Halvorsen, and Brent McLachlan - arrived on Matador in time for the US release of "Robot World" (1993). "Wammo" was the trio's third and final full-length with the label (their fifth album overall) and was among its most tuneful efforts (relatively speaking!). At the time, music scribes were a bit puzzled by the record's "accessibility". In the rear view, though, we can recognize "Wammo" for the perfectly melancholy and drone-laced brain-zap that it is.
February 26 street date. Julien Baker will release her third studio album, "Little Oblivions", on February 26 via Matador Records. Her first full length since 2017's "Turn Out The Lights", "Little Oblivions" was recorded in Memphis, TN between December 2019 and January 2020. The record weaves together unflinching autobiography with assimilated experience and hard won observations from the past few years, taking Baker's capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter's intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.
February 26 street date. Julien Baker will release her third studio album, "Little Oblivions", on February 26 via Matador Records. Her first full length since 2017's "Turn Out The Lights", "Little Oblivions" was recorded in Memphis, TN between December 2019 and January 2020. The record weaves together unflinching autobiography with assimilated experience and hard won observations from the past few years, taking Baker's capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter's intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker. Please note: limited edition yellow vinyl is now sold out.
August 13 street date. "Refuge" is a meditation collaboration from Devendra Banhart and Noah Georgeson. Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before - an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album "Cripple Crow" and they have been working together ever since. As Devendra and Noah got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. "Refuge" is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal.
August 13 street date. "Refuge" is a meditation collaboration from Devendra Banhart and Noah Georgeson. Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before - an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album "Cripple Crow" and they have been working together ever since. As Devendra and Noah got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. "Refuge" is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal.
August 13 street date. "Refuge" is a meditation collaboration from Devendra Banhart and Noah Georgeson. Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before - an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album "Cripple Crow" and they have been working together ever since. As Devendra and Noah got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. "Refuge" is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal.
Please note new street date: December 10. 25th anniversary edition of Bardo Pond's long out-of-print second album and label debut, "Amanita" - newly remastered 2xLP reissue limited to 100 copies for Canada on purple vinyl. Formed in 1991, the Philadelphia-based quintet have spent some thirty years mapping guitar music's outer limits dialing into extremes of noise, chaos, and harmony in free-form compositions that now unfurl across 12 full-length records and a near-limitless body of EPs, cassettes, and CD-Rs. Recorded by the lineup of John Gibbons (guitar), Michael Gibbons (guitar), Isobel Sollenberger (voice, flute), Clint Takeda (bass), and Joe Culver (drums), "Amanita" is the place where the band's spontaneous collective creativity blazed into maturity. Even within the heady subcultural micro-verse of 90s underground zoner-music, the Fishtown-basement-dwelling quintet's vision of "psychedelia" was singular in its heaviness.
May 28 street date. After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. On his new solo album, "Reason To Live", he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. "Reason To Live" is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. By folding the many facets of his life into one package, "Reason To Live" radiates with a renewed balance and calm.
May 28 street date. After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. On his new solo album, "Reason To Live", he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. "Reason To Live" is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. By folding the many facets of his life into one package, "Reason To Live" radiates with a renewed balance and calm.
May 28 street date. After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. On his new solo album, "Reason To Live", he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. "Reason To Live" is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. By folding the many facets of his life into one package, "Reason To Live" radiates with a renewed balance and calm.
Please note new street date: March 18. "Don't Go Throwing Roses In My Grave" is the first solo record by beloved frontman of The Menzingers, Gregor Barnett. Devoted Menzingers fans will love its electrified Americana riffs, yearning melodies, driving beats and indelible lyrical imagery. The Philadelphia based singer/songwriter is telling his stories with a folkier style then he does in The Menzingers, but his stories are just as moving and compelling.
Please note new street date: March 18. "Don't Go Throwing Roses In My Grave" is the first solo record by beloved frontman of The Menzingers, Gregor Barnett. Devoted Menzingers fans will love its electrified Americana riffs, yearning melodies, driving beats and indelible lyrical imagery. The Philadelphia based singer/songwriter is telling his stories with a folkier style then he does in The Menzingers, but his stories are just as moving and compelling.
Please note new street date: March 18. "Don't Go Throwing Roses In My Grave" is the first solo record by beloved frontman of The Menzingers, Gregor Barnett. Devoted Menzingers fans will love its electrified Americana riffs, yearning melodies, driving beats and indelible lyrical imagery. The Philadelphia based singer/songwriter is telling his stories with a folkier style then he does in The Menzingers, but his stories are just as moving and compelling.
January 21 street date. For more than 20 years, Brad Barr has been counting the number 216. It's a magical, mystical number that has appeared everywhere for him - from clocks and license plates to Ouija boards and receipts - and now it's also sewn the fabric of a new album, like the 216 stitches on an officially-certified Major League baseball. The front man for the Barr Brothers has set aside his band and his microphone and even his sheets of lyrics - picking up his instrument for a solo guitar album that ripples with immediacy, vulnerability, and the spell of six-cubed. The album had its origins in a commission, landing just before the arrival of the Pandemic: an invitation to compose for New York City's acclaimed off-Broadway All For One Theater. The theatre's founder, Michael Wolk, knew "The Fall Apartment" and sought a set of similar instrumental tracks for on- and off-stage use. "It felt like a gift," Barr recalls - as the world shut down and touring stopped, as Barr sought a sound he could explore all by himself, in this strange intermission.
LP and CD in stock now. Jennah Barry's long-awaited sophomore release!! (new single hiit #5 on CBC Top 20. Confirmed coverage from Mojo, Popmatters, Exclaim! & many more!!) - Hailing from the coastal haven of Mahone Bay, Nova Scotia, Jennah Barry is one of Atlantic Canada’s surest sirens. Her undeniable, rosewater voice sets a mood wherein even the hardest truths seem palatable. Moving effortlessly between folk, country and soft rock motifs, Barry’s music, last heard on her instantly classic debut Young Men, sets her at the forefront of a tradition of women making music as strong as it is sentimental. "Hazy and calm and entirely entrancing" - The Line of Best Fit // "Barry has an unsettling ability to capture the warmth of an evening (possibly seaside) while slowly cracking into that cozy façade with the tap-tap of insistent heartbreak." - CBC Music
Please note new street date: January 13. "Remedy" is Basement Jaxx's joyous debut album from 1999. It was one of the most assured, propulsive full-lengths the dance world had seen since Daft Punk's "Homework". A set of incredibly diverse tracks, "Remedy" is indebted to the raw American house of Todd Terry and Masters at Work, and even shares a penchant for Latin vibes (especially on the horn-driven "Bingo Bango" and the opener, "Rendez-Vu", which trades a bit of salsa wiggle with infectious vocoderized disco). The double LP "Remedy" reissue arrives on golden vinyl.
Please note new street date: January 13. Named after their infamous Brixton club night, Basement Jaxx's second album "Rooty" saw the duo continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop songcraft in a mad genre crash that works like a charm. It features the massive tracks "Where's Your Head At", "Romeo" and "Do Your Thing". The "Rooty" double LP reissue arrives with 2 uniquely coloured LP's, 1 disc pressed on pink vinyl and the other on bright blue.
November 13 street date. William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, "Lamentations", he transforms operatic tragedy into abyssal beauty. More than any other work since "The Disintegration Loops", there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - "Lamentations" is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.
December 9 street date. Reissued on standard black vinyl (the first US Beggars Banquet pressing), 1983's "Burning From the Inside" is Bauhaus' most commercial-sounding album. Arguably their most effective, and, sadly, their last album as a group, it shows all of the group's strengths, and creates an immediately identifiable "mood" in the mind of the listener, especially evident in the opening track, "She's in Parties". Bauhaus has a unique ability to wring poignancy and nostalgia out of the weirdest lyrical constructs - as in the album's centerpiece, "Who Killed Mr Moonlight", introduced by piano and mournful saxophone. "Burning From the Inside" displays Bauhaus' timeless, uncanny knack for revealing massive, dense moments in the middle of what would be, in others' hands, straight-ahead rock songs. Mastered from HD audio files transferred from the original tapes.
December 9 street date. Reissued on standard black vinyl (the first US Beggars Banquet pressing), 1982's "The Sky's Gone Out" marked a stylistic midpoint in Bauhaus' brief but spectacular career. In comparison with their earlier almost impenetrably convoluted literary references and effectively murky production, this album is lyrically more direct, musically more straightforward, and features vastly cleaner production. The first of these changes is exemplified in the album's second track, "Silent Hedges", with its "going to hell again" chorus and in the bitter "all we ever wanted was everything, all we ever got was cold". The music of "The Sky's Gone Out" is less harsh - almost inviting the listener in before the slicing lyrics drop like poised blades. More fragmented in origin that it might appear on first glance, these songs show Bauhaus in excelsis. Mastered from HD audio files transferred from the original tapes.
August 29 RECORD STORE DAY DROP. BAYSIDE has always focused on creating songs that are relevant to people who want substance, rather than being relegated to one genre. With Interrobang, the band has put together an eclectic, inspiring, and bold collection of songs. Raneri shares, “Love it or hate it, we wanted the record to invoke something in people. We said with this record we either wanted to create something great or fall on our faces. Negative or positive, we just didn’t want the record to be ‘fine.’” While many bands would coast on their past success, BAYSIDE rejects the premise and proves with Interrobang, that the best is yet to come. This 7” is a record store day exclusive with Bayside’s song “Heaven,” off of their latest album “Interrobang,” b/w an unreleased acoustic version. For Fans Of: Alkaline Trio, The Menzingers, Taking Back Sunday
November 19 street date. Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur's melancholic harmonies to new heights.
November 19 street date. Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur's melancholic harmonies to new heights.
Please note new street date: January 14. Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur's melancholic harmonies to new heights.
February 18 street date. Black vinyl "silver edition" packaged in wide-spine jacket with poster and custom dust sleeves. First new album since 2018 from the standard-bearers of modern atmospheric indie-pop. "Once Twice Melody" is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach House records remain present throughout many of the compositions. Beach House's audience has tripled recently due to massive online exposure: "Space Song" (from 2015's "Depression Cherry") was in two separate TikTok memes, while "Silver Soul" (from 2010's "Teen Dream") was sampled by Kendrick Lamar and subsequently got tons of exposure on TikTok.
February 18 street date. Black vinyl "silver edition" packaged in wide-spine jacket with poster and custom dust sleeves. First new album since 2018 from the standard-bearers of modern atmospheric indie-pop. "Once Twice Melody" is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach House records remain present throughout many of the compositions. Beach House's audience has tripled recently due to massive online exposure: "Space Song" (from 2015's "Depression Cherry") was in two separate TikTok memes, while "Silver Soul" (from 2010's "Teen Dream") was sampled by Kendrick Lamar and subsequently got tons of exposure on TikTok.
February 18 street date. "Gold edition". Gold and clear vinyl LPs in separate jackets with custom dust sleeves, two posters, and book, all enclosed in a hinged box. First new album since 2018 from the standard-bearers of modern atmospheric indie-pop. "Once Twice Melody" is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach House records remain present throughout many of the compositions. Beach House's audience has tripled recently due to massive online exposure: "Space Song" (from 2015's "Depression Cherry") was in two separate TikTok memes, while "Silver Soul" (from 2010's "Teen Dream") was sampled by Kendrick Lamar and subsequently got tons of exposure on TikTok.
February 18 street date. Black vinyl "silver edition" packaged in wide-spine jacket with poster and custom dust sleeves. First new album since 2018 from the standard-bearers of modern atmospheric indie-pop. "Once Twice Melody" is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach House records remain present throughout many of the compositions. Beach House's audience has tripled recently due to massive online exposure: "Space Song" (from 2015's "Depression Cherry") was in two separate TikTok memes, while "Silver Soul" (from 2010's "Teen Dream") was sampled by Kendrick Lamar and subsequently got tons of exposure on TikTok.
July 29 street date. Against the backdrop of Asbury Park, NJ rock and punk history comes Beach Rats. With a membership that includes four impossible-to-avoid New Jersey punk stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz (Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded out by Danny Windas, akd "Dubs" on drums. Beach Rats play a brand of hardcore/punk that stays true to their members' roots while creating something completely fresh and urgent. "It's a mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80s hardcore riffs because we were there", states Bryan Kienlan. "You're gonna get authentic punk and hardcore from Beach Rats because we are all from the 80s. It's literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, And of course, Minor Threat".
July 29 street date. Against the backdrop of Asbury Park, NJ rock and punk history comes Beach Rats. With a membership that includes four impossible-to-avoid New Jersey punk stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz (Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded out by Danny Windas, akd "Dubs" on drums. Beach Rats play a brand of hardcore/punk that stays true to their members' roots while creating something completely fresh and urgent. "It's a mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80s hardcore riffs because we were there", states Bryan Kienlan. "You're gonna get authentic punk and hardcore from Beach Rats because we are all from the 80s. It's literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, And of course, Minor Threat".
July 29 street date. Against the backdrop of Asbury Park, NJ rock and punk history comes Beach Rats. With a membership that includes four impossible-to-avoid New Jersey punk stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz (Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded out by Danny Windas, akd "Dubs" on drums. Beach Rats play a brand of hardcore/punk that stays true to their members' roots while creating something completely fresh and urgent. "It's a mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80s hardcore riffs because we were there", states Bryan Kienlan. "You're gonna get authentic punk and hardcore from Beach Rats because we are all from the 80s. It's literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, And of course, Minor Threat".
Please note new street date: April 1. "Artifacts" began humbly as a means of compiling a few early Beirut EPs for a proper physical release. However, as Zach Condon explains in the album's excellent liner notes, reconnecting with old recordings through fresh ears turned a simple reissue project into something much more expansive. "When the decision came to re-release this collection, I found myself digging through hard drives looking for something extra to add to the compilation. What started as a few extra unreleased tracks from my formative recording years quickly grew into an entire extra records-worth of music from my past, and a larger project of remixing and remastering everything I found for good measure". "Artifacts" is a phylogenetic tree. A double LP's worth of music that traces the evolution of Beirut from a 14-year old Condon's first attempts at bringing the music he heard in his mind to life, to the fully formed Beirut we know today.
Please note new street date: April 1. "Artifacts" began humbly as a means of compiling a few early Beirut EPs for a proper physical release. However, as Zach Condon explains in the album's excellent liner notes, reconnecting with old recordings through fresh ears turned a simple reissue project into something much more expansive. "When the decision came to re-release this collection, I found myself digging through hard drives looking for something extra to add to the compilation. What started as a few extra unreleased tracks from my formative recording years quickly grew into an entire extra records-worth of music from my past, and a larger project of remixing and remastering everything I found for good measure". "Artifacts" is a phylogenetic tree. A double LP's worth of music that traces the evolution of Beirut from a 14-year old Condon's first attempts at bringing the music he heard in his mind to life, to the fully formed Beirut we know today.
October 14 street date. Daniel Bélanger signe "Mercure en mai", un album qui célèbre la complicité humaine et les joies inattendues. Par une froide matinée de février 2021, au coeur de la énième vague pandémique, Daniel Bélanger déambulait sur une rue du quartier Mile-Ex. Les mains au fond des poches, la tête dans les épaules, il était perplexe devant les mille et une conséquences de l'urgence sanitaire et en particulier devant l'impossibilité de s'asseoir au chaud dans un café, comme il aime tant le faire. Après un arrêt à un comptoir où il a ses habitudes, où il venait de commander un latte pour emporter, il a reconnu quelqu'un parmi un petit groupe de badauds agglutinés autour d'un banc public. Salutations, présentation aux uns et aux autres, début de discussion: Daniel Bélanger ne le savait pas encore, mais il venait de se faire de véritables amis, avec qui, à coup d'échanges autour d'un gobelet fumant, il a traversé les semaines de confinement qui s'amorçaient. On pourrait dire que chacun des dix titres de "Mercure en mai" provient d'un tel hasard, comme un fruit de l'inattendu. Des mots attentifs aux étonnements, au soudain, à ces «petites Californies» qui dorment au fond de nous; des musiques naviguant entre le minimal et le luxuriant, avec motifs en boomerangs et passages secrets: tout ici raconte l’impromptu, ce qui échappe aux agendas et à la raison.
October 14 street date. Daniel Bélanger signe "Mercure en mai", un album qui célèbre la complicité humaine et les joies inattendues. Par une froide matinée de février 2021, au coeur de la énième vague pandémique, Daniel Bélanger déambulait sur une rue du quartier Mile-Ex. Les mains au fond des poches, la tête dans les épaules, il était perplexe devant les mille et une conséquences de l'urgence sanitaire et en particulier devant l'impossibilité de s'asseoir au chaud dans un café, comme il aime tant le faire. Après un arrêt à un comptoir où il a ses habitudes, où il venait de commander un latte pour emporter, il a reconnu quelqu'un parmi un petit groupe de badauds agglutinés autour d'un banc public. Salutations, présentation aux uns et aux autres, début de discussion: Daniel Bélanger ne le savait pas encore, mais il venait de se faire de véritables amis, avec qui, à coup d'échanges autour d'un gobelet fumant, il a traversé les semaines de confinement qui s'amorçaient. On pourrait dire que chacun des dix titres de "Mercure en mai" provient d'un tel hasard, comme un fruit de l'inattendu. Des mots attentifs aux étonnements, au soudain, à ces «petites Californies» qui dorment au fond de nous; des musiques naviguant entre le minimal et le luxuriant, avec motifs en boomerangs et passages secrets: tout ici raconte l’impromptu, ce qui échappe aux agendas et à la raison.
July 10 street date. The debut collaboration album from doom metal giants Bell Witch and Aerial Ruin (the solo folk project of singer/songwriter Erik Moggridge), under the moniker of Stygian Bough is a culmination of the work of both artists as witnessed previously on Bell Witch's three full length albums, where Moggrdige has contributed guest vocals. With each succeeding Bell Witch release, one has seen Moggridge's involvement with the band developing, growing and getting more elaborate. This release, produced by Randall Dunn (Sunn O))), Wolves In The Throne Room, Anna Von Hausswolff), follows up Bell Witch's colossal "Mirror Reaper" opus with Moggrdige actually being involved in the creative and writing process with the band duo of Dylan Desmond (bass/vocals) and Jesse Shreibman (drums/synthesizers/vocals). Not only does Stygian Bough expand and broaden this alliance between the artists, but with Aerial Ruin contributing to the songwriting of this dedicated collaboration and incorporating his signature and alluring style of emotionally-driven folk, along with taking the lead vocal position, adding to the band's caliber of unearthly towering doom, this album becomes its own singular, unparalleled doom metal entity.
July 10 street date. The debut collaboration album from doom metal giants Bell Witch and Aerial Ruin (the solo folk project of singer/songwriter Erik Moggridge), under the moniker of Stygian Bough is a culmination of the work of both artists as witnessed previously on Bell Witch's three full length albums, where Moggrdige has contributed guest vocals. With each succeeding Bell Witch release, one has seen Moggridge's involvement with the band developing, growing and getting more elaborate. This release, produced by Randall Dunn (Sunn O))), Wolves In The Throne Room, Anna Von Hausswolff), follows up Bell Witch's colossal "Mirror Reaper" opus with Moggrdige actually being involved in the creative and writing process with the band duo of Dylan Desmond (bass/vocals) and Jesse Shreibman (drums/synthesizers/vocals). Not only does Stygian Bough expand and broaden this alliance between the artists, but with Aerial Ruin contributing to the songwriting of this dedicated collaboration and incorporating his signature and alluring style of emotionally-driven folk, along with taking the lead vocal position, adding to the band's caliber of unearthly towering doom, this album becomes its own singular, unparalleled doom metal entity.
May 6 street date. "A Bit of Previous" is the ninth studio album by Belle and Sebastian and their first full-length in seven years. So what is a "A Bit of Previous"? It's a bit of everything, and a lot of what makes Belle and Sebastian so special and enduring. It's a band with humour, irreverence, lyrical exactitude and musical bravado tackling the insight, experience and responsibility that comes with getting older. It's a classic Belle and Sebastian album full of melodies that won’t leave your head, and lyrics will that make you smile, ponder and reflect. "A Bit of Previous" was self-produced and recorded by Belle and Sebastian (with contributions from Brian McNeill, Matt Wiggins, Kevin Burleigh and Shawn Everett) in their native Glasgow, and their most hands-on effort since "The Boy With The Arab Strap". The result is one the most diverse and thrilling entries in the band's catalogue. "A Bit of Previous" is Belle and Sebastian once again asserting themselves as an infallible source of energy and fun.
May 6 street date. "A Bit of Previous" is the ninth studio album by Belle and Sebastian and their first full-length in seven years. So what is a "A Bit of Previous"? It's a bit of everything, and a lot of what makes Belle and Sebastian so special and enduring. It's a band with humour, irreverence, lyrical exactitude and musical bravado tackling the insight, experience and responsibility that comes with getting older. It's a classic Belle and Sebastian album full of melodies that won’t leave your head, and lyrics will that make you smile, ponder and reflect. "A Bit of Previous" was self-produced and recorded by Belle and Sebastian (with contributions from Brian McNeill, Matt Wiggins, Kevin Burleigh and Shawn Everett) in their native Glasgow, and their most hands-on effort since "The Boy With The Arab Strap". The result is one the most diverse and thrilling entries in the band's catalogue. "A Bit of Previous" is Belle and Sebastian once again asserting themselves as an infallible source of energy and fun.
May 6 street date. "A Bit of Previous" is the ninth studio album by Belle and Sebastian and their first full-length in seven years. So what is a "A Bit of Previous"? It's a bit of everything, and a lot of what makes Belle and Sebastian so special and enduring. It's a band with humour, irreverence, lyrical exactitude and musical bravado tackling the insight, experience and responsibility that comes with getting older. It's a classic Belle and Sebastian album full of melodies that won’t leave your head, and lyrics will that make you smile, ponder and reflect. "A Bit of Previous" was self-produced and recorded by Belle and Sebastian (with contributions from Brian McNeill, Matt Wiggins, Kevin Burleigh and Shawn Everett) in their native Glasgow, and their most hands-on effort since "The Boy With The Arab Strap". The result is one the most diverse and thrilling entries in the band's catalogue. "A Bit of Previous" is Belle and Sebastian once again asserting themselves as an infallible source of energy and fun.
May 6 street date. "A Bit of Previous" is the ninth studio album by Belle and Sebastian and their first full-length in seven years. So what is a "A Bit of Previous"? It's a bit of everything, and a lot of what makes Belle and Sebastian so special and enduring. It's a band with humour, irreverence, lyrical exactitude and musical bravado tackling the insight, experience and responsibility that comes with getting older. It's a classic Belle and Sebastian album full of melodies that won’t leave your head, and lyrics will that make you smile, ponder and reflect. "A Bit of Previous" was self-produced and recorded by Belle and Sebastian (with contributions from Brian McNeill, Matt Wiggins, Kevin Burleigh and Shawn Everett) in their native Glasgow, and their most hands-on effort since "The Boy With The Arab Strap". The result is one the most diverse and thrilling entries in the band's catalogue. "A Bit of Previous" is Belle and Sebastian once again asserting themselves as an infallible source of energy and fun.
January 13 street date. Celebrated Glasgow collective Belle and Sebastian present their surprise album, "Late Developers", just announced January 9th. Recorded in tandem with the acclaimed "A Bit of Previous", the album features 12 new songs that carry on the reflective and celebratory spirit of its predecessor, while also pushing the band into the world of contemporary pop unlike ever before. It is beyond remarkable and inspiring that Belle and Sebastian, 26 years into their career, can make music that is not only immediate and effective, but two back-to-back albums that feel like they're at the top of their game. "Late Developers" arrives on standard black and limited edition orange gatefold vinyl, as well as on CD. All in stock and available to ship.
January 13 street date. Celebrated Glasgow collective Belle and Sebastian present their surprise album, "Late Developers", just announced January 9th. Recorded in tandem with the acclaimed "A Bit of Previous", the album features 12 new songs that carry on the reflective and celebratory spirit of its predecessor, while also pushing the band into the world of contemporary pop unlike ever before. It is beyond remarkable and inspiring that Belle and Sebastian, 26 years into their career, can make music that is not only immediate and effective, but two back-to-back albums that feel like they're at the top of their game. "Late Developers" arrives on standard black and limited edition orange gatefold vinyl, as well as on CD. All in stock and available to ship.
January 13 street date. Celebrated Glasgow collective Belle and Sebastian present their surprise album, "Late Developers", just announced January 9th. Recorded in tandem with the acclaimed "A Bit of Previous", the album features 12 new songs that carry on the reflective and celebratory spirit of its predecessor, while also pushing the band into the world of contemporary pop unlike ever before. It is beyond remarkable and inspiring that Belle and Sebastian, 26 years into their career, can make music that is not only immediate and effective, but two back-to-back albums that feel like they're at the top of their game. "Late Developers" arrives on standard black and limited edition orange gatefold vinyl, as well as on CD. All in stock and available to ship.
December 11 street date. "What To Look For In Summer" is a live double album gathering choice selections from Belle And Sebastian's 2019 world tour. Neither a retrospective nor a back-door greatest-hits, "What To Look For In Summer" is the sound of a band that's always moving forward, a picture of Belle and Sebastian in 2019 that gives equal weight to early days ("My Wandering Days Are Over", "Seeing Other People") and recent years.
December 11 street date. "What To Look For In Summer" is a live double album gathering choice selections from Belle And Sebastian's 2019 world tour. Neither a retrospective nor a back-door greatest-hits, "What To Look For In Summer" is the sound of a band that's always moving forward, a picture of Belle and Sebastian in 2019 that gives equal weight to early days ("My Wandering Days Are Over", "Seeing Other People") and recent years.
January 14 street date. Vinyl reissue of Belvedere's "The Revenge Of The Fifth", originally released in 2016 via Bird Attack Records. "The Revenge Of The Fifth" picked up where the Calgary band's previous release "Fast Forward Eats The Tape" left off. Twelve tracks of melodic punk - fast and furious. The album featured a notable progression in its songwriting. The balancing act between raising families and holding steady jobs, and touring the world for 20 years can be heard in many of the lyrics. An expression of hope is found in "The Revenge Of The Fifth" which hinges on the idea that we’re all ultimately responsible for taking care of the human race and the planet; and to stop looking to a higher power for forgiveness or answers.
December 17 street date (CD)/April 15 street date (LP). Chuck Berry, the songwriter and guitarist now known worldwide as the Father of Rock & Roll, came from humble beginnings. After an evening in 1996 spent reminiscing about his storied career with his longtime friend Joe Edwards, owner of St. Louis restaurant and venue Blueberry Hill, Berry fulfilled the dream of music lovers everywhere; he started a live residency that spanned 209 shows at the 340-person capacity club. The club became a modern-day Mecca for rock fans, and a once-in-a-lifetime opportunity to see the legend perform up close and personal. "Live From Blueberry Hill" compiles some of Berry's greatest hits from this epic run of shows played alongside his fantastic band - including his son Charles Berry Jr. and daughter Ingrid Berry.
April 15 street date (LP) / CD available now. Chuck Berry, the songwriter and guitarist now known worldwide as the Father of Rock & Roll, came from humble beginnings. After an evening in 1996 spent reminiscing about his storied career with his longtime friend Joe Edwards, owner of St. Louis restaurant and venue Blueberry Hill, Berry fulfilled the dream of music lovers everywhere; he started a live residency that spanned 209 shows at the 340-person capacity club. The club became a modern-day Mecca for rock fans, and a once-in-a-lifetime opportunity to see the legend perform up close and personal. "Live From Blueberry Hill" compiles some of Berry's greatest hits from this epic run of shows played alongside his fantastic band - including his son Charles Berry Jr. and daughter Ingrid Berry.
January 29 street date. "The Besnard Lakes Are The Last of the Great Thunderstorm Warnings" is the group's sixth album and the first on Flemish Eye. After 2016's "A Coliseum Complex Museum" - which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs - the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes - rock songs with chthonic heft and ethereal grace, 5 or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? Despite all its grandeur, "...The Last of the Great Thunderstorm Warnings" honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, overflowing with melody and harmony, drone and dazzle, the group's own unique weather. In late 2020, as the world burns, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more.
January 29 street date. "The Besnard Lakes Are The Last of the Great Thunderstorm Warnings" is the group's sixth album and the first on Flemish Eye. After 2016's "A Coliseum Complex Museum" - which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs - the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes - rock songs with chthonic heft and ethereal grace, 5 or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? Despite all its grandeur, "...The Last of the Great Thunderstorm Warnings" honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, overflowing with melody and harmony, drone and dazzle, the group's own unique weather. In late 2020, as the world burns, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more.
October 21 street date. After teasing out two psychedelic transmissions, The Besnard Lakes have announced a new limited edition 12" EP - "The Besnard Lakes are the Prayers for the Death of Fame". With some of the material composed during the songwriting for the band's epic 2021 double LP, this companion EP acts as a spiritual sister to that masterwork. For some, the EP format implies a shorter, perhaps less-developed idea. The Besnard Lakes embrace the medium with a triptych that sprawls languorously across 28 minutes of cosmic majesty, culminating with the empyrean ‘Silver Shadows’.
Please note new street date: April 16 (LP) / April 30 (CD). Hot on the heels of five viral video singles, "Tea Party Revenge Porn", the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would - or could - as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never before. Only so many artists have a track record of lyrics this good, and back it up with music as good or better. So as germs and police riots rage, there's no better primal scream therapy than a long-awaited new Jello Biafra album.
Please note new street date: April 16 (LP) / April 30 (CD). Hot on the heels of five viral video singles, "Tea Party Revenge Porn", the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would - or could - as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never before. Only so many artists have a track record of lyrics this good, and back it up with music as good or better. So as germs and police riots rage, there's no better primal scream therapy than a long-awaited new Jello Biafra album.
August 26 street date. Like a song through an open window, it feels like we've been waiting a long time for "Le soleil et la mer". The debut release by Bibi Club, aka real-life lovers Adèle Trottier-Rivard and Nicolas Basque, is sun-kissed and wave-washed, shimmering and chic, a party overdue after two years that have felt (to everyone!) like winter. Adèle has been singing for others for years, notably with Nico's band, Plants and Animals, but "Le soleil et la mer" stunningly and confidently reveals the extent of her skills. Bibi Club effortlessly moved from home to the stage, with infectiously easygoing, fun-loving charm. You can immediately feel this euphoria on the album, which quickly makes you forget about the worries of the daily grind. It's summertime, come out and dance! Throughout "Le soleil et la mer", Adèle and Nico set out to create music that is intimate, honest, sparkling with an energy that animates even its quiet moments - and inspired by artists as diverse as Stereolab, Suicide, Alice Coltrane, and Tirzah. It's a sound as ready for revels as it is for rainy days. Bibi Club will remind you: if it's not sunny here, it's sunny somewhere.
August 26 street date. Like a song through an open window, it feels like we've been waiting a long time for "Le soleil et la mer". The debut release by Bibi Club, aka real-life lovers Adèle Trottier-Rivard and Nicolas Basque, is sun-kissed and wave-washed, shimmering and chic, a party overdue after two years that have felt (to everyone!) like winter. Adèle has been singing for others for years, notably with Nico's band, Plants and Animals, but "Le soleil et la mer" stunningly and confidently reveals the extent of her skills. Bibi Club effortlessly moved from home to the stage, with infectiously easygoing, fun-loving charm. You can immediately feel this euphoria on the album, which quickly makes you forget about the worries of the daily grind. It's summertime, come out and dance! Throughout "Le soleil et la mer", Adèle and Nico set out to create music that is intimate, honest, sparkling with an energy that animates even its quiet moments - and inspired by artists as diverse as Stereolab, Suicide, Alice Coltrane, and Tirzah. It's a sound as ready for revels as it is for rainy days. Bibi Club will remind you: if it's not sunny here, it's sunny somewhere.
August 27 street date. Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music - be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation, among many other projects. On Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's ever-morphing project with Bon Iver's Justin Vernon, many of Dessner's previous collaborators and friends show up, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold, Ben Howard and This Is The Kit, Naeem, Sharon Van Etten, Lisa Hannigan, and My Brightest Diamond's Shara Nova "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together".
August 27 street date. Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music - be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation, among many other projects. On Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's ever-morphing project with Bon Iver's Justin Vernon, many of Dessner's previous collaborators and friends show up, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold, Ben Howard and This Is The Kit, Naeem, Sharon Van Etten, Lisa Hannigan, and My Brightest Diamond's Shara Nova "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together".
August 27 street date. Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music - be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation, among many other projects. On Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's ever-morphing project with Bon Iver's Justin Vernon, many of Dessner's previous collaborators and friends show up, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold, Ben Howard and This Is The Kit, Naeem, Sharon Van Etten, Lisa Hannigan, and My Brightest Diamond's Shara Nova "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together".
August 27 street date. Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music - be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation, among many other projects. On Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's ever-morphing project with Bon Iver's Justin Vernon, many of Dessner's previous collaborators and friends show up, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold, Ben Howard and This Is The Kit, Naeem, Sharon Van Etten, Lisa Hannigan, and My Brightest Diamond's Shara Nova "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together".
February 11 street date. "Dragon New Warm Mountain I Believe in You" is a sprawling double-LP exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchik, Buck Meek, and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians, and chosen family over 4 distinct recording sessions. They spent 5 months in creation, coming out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up "DNWMIBIY", a fluid and adventurous listen. All 4 of these sessions, in their varied states of fidelity, style, and mood, when viewed together as one album seem to stand for a more honest, zoomed-out picture of lived experience than would be possible on a traditional, 12 song record. This was exactly what the band hoped would be the outcome of this kind of massive experiment. The attempt to capture something deeper, wider, and full of mystery, points to the inherent spirit of Big Thief. To support the new release Big Thief will be attempting to steer the dragon in Montreal (Olympia - April 18th) and Toronto (Massey Hall - April 19th).
February 11 street date. "Dragon New Warm Mountain I Believe in You" is a sprawling double-LP exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchik, Buck Meek, and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians, and chosen family over 4 distinct recording sessions. They spent 5 months in creation, coming out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up "DNWMIBIY", a fluid and adventurous listen. All 4 of these sessions, in their varied states of fidelity, style, and mood, when viewed together as one album seem to stand for a more honest, zoomed-out picture of lived experience than would be possible on a traditional, 12 song record. This was exactly what the band hoped would be the outcome of this kind of massive experiment. The attempt to capture something deeper, wider, and full of mystery, points to the inherent spirit of Big Thief. To support the new release Big Thief will be attempting to steer the dragon in Montreal (Olympia - April 18th) and Toronto (Massey Hall - April 19th).
July 17 street date. Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced the release of "Species", which will be released on 17 July. "Species" is an exploration of the sonic possibilities of the Farfisa organ, aided only by a clarinet and double bass. "I suppose what interested me the most in putting this together was the concept of trance and what can happen to the listener by submitting to the wave of the thing," Moore explains. "Species", and the transcendental state it embodies, was inspired by two recent loves of Moore's: the desert and long-distance running. Bing & Ruth have had to postpone their previously scheduled Spring/Summer tour. Canadian dates will now take place on September 1st (Toronto - Brothers Dressler) and September 2nd (Montreal - La Sala Rossa).
July 17 street date. Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced the release of "Species", which will be released on 17 July. "Species" is an exploration of the sonic possibilities of the Farfisa organ, aided only by a clarinet and double bass. "I suppose what interested me the most in putting this together was the concept of trance and what can happen to the listener by submitting to the wave of the thing," Moore explains. "Species", and the transcendental state it embodies, was inspired by two recent loves of Moore's: the desert and long-distance running. Bing & Ruth have had to postpone their previously scheduled Spring/Summer tour. Canadian dates will now take place on September 1st (Toronto - Brothers Dressler) and September 2nd (Montreal - La Sala Rossa).
Available now. Nominated for 2022 Grammy for Best Traditional Blues Album. Winner of Blues Music Awards for Album Of The Year and Traditional Blues Album Of The Year. Rock and Roll Hall of Famer Elvin Bishop and Grammy-winning harmonica great Charlie Musselwhite join forces for a fun and historic collaboration of front porch blues. Among the most famous bluesmen in the world, with over five decades each of recording and performing, Elvin and Charlie have scanned over 600,000 units combined, despite over two dozen of their releases coming before the advent of Soundscan.
May 20 street date. If the pandemic made you realize that you missed one thing about your connection with punk, there's a decent chance that Bishops Green had something to do with that. This band hits hard and reaches people on a very deep level. Making new fans daily, they continue to connect with scores of people very deeply, even not being able to tour. Yet the true magic in this band is really seeing them live. As the world returns to normal and gigs materialize, more and more people are gonna realize how important this band is to the social fabric of punk rock. The passion they’ve instilled in fans, and the fervor from within are both equally strong and together are the reason why this band has so much impact to deliver! This album and these songs absolutely set the tone, brilliantly, but there is so much more to come as well. Absolutely no lack of excitement in this maple-leaf-adorned corner of the punk rock world - in fact, quite the opposite! There are seemingly black skies adrift right now, but somehow these songs make you feel like there's a golden future on the horizon! We can all at least sing loud, and hope…
April 23 street date. RECORD STORE DAY release. First time on vinyl in North America for this 2001 release. 180g 2LP clear with black, smoke and emerald marble coloured vinyl. Includes download card.
November 26 street date. Everything about Black Label Society begins with the riff. A dedicated disciple of Zeppelin, Sabbath, and Deep Purple, Zakk Wylde looks to the massive guitar hooks in classics like "Whole Lotta Love," "Into the Void," and "Smoke On the Water" as guiding lights. "The main ingredient in any Black Label soup is the riff," says the larger-than-life frontman. Black Label Society builds their music on this simple truth, truth as self-evident on "Back In Black" as on the dozen songs comprising "Doom Crew Inc.", the eleventh album from the dependable stalwarts. "Doom Crew Inc." is both a tribute to the band's "first to bleed, last to leave" road crew and a salute to the legion whose support, stretching back to 1998, rivals that of the KISS Army. The Black Label Society biker-style battle vest "kutte" is as ubiquitous at hard rock and metal shows as a black t-shirt.
November 26 street date. Everything about Black Label Society begins with the riff. A dedicated disciple of Zeppelin, Sabbath, and Deep Purple, Zakk Wylde looks to the massive guitar hooks in classics like "Whole Lotta Love," "Into the Void," and "Smoke On the Water" as guiding lights. "The main ingredient in any Black Label soup is the riff," says the larger-than-life frontman. Black Label Society builds their music on this simple truth, truth as self-evident on "Back In Black" as on the dozen songs comprising "Doom Crew Inc.", the eleventh album from the dependable stalwarts. "Doom Crew Inc." is both a tribute to the band's "first to bleed, last to leave" road crew and a salute to the legion whose support, stretching back to 1998, rivals that of the KISS Army. The Black Label Society biker-style battle vest "kutte" is as ubiquitous at hard rock and metal shows as a black t-shirt. Indie retail exclusive color vinyl variant: clear & black ice with grey and white splatter.
October 21 street date. The Black Lips return with their 10th studio effort ‘Apocalypse Love’. Scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup d'etats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of rock 'n' roll. ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down.
October 21 street date. The Black Lips return with their 10th studio effort ‘Apocalypse Love’. Scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup d'etats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of rock 'n' roll. ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down. Classic black vinyl with lyric insert and download card.
October 21 street date. The Black Lips return with their 10th studio effort ‘Apocalypse Love’. Scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup d'etats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of rock 'n' roll. ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down. Limited deluxe edition on violet vinyl with silver foiled sleeve, lyric insert, and download card.
December 2 street date. Bending scuzzy boundaries, "Good Bad Not Evil" is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. "Good Bad Not Evil" perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics. Referencing The Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘VeniVidi Vici’, ‘Cold Hands’, ‘Bad Kids’, and ‘O Katrina!’ immediately became Black Lips staples. Packaged in a gatefold sleeve with spot gloss, liner notes, and download card.
December 2 street date. Bending scuzzy boundaries, "Good Bad Not Evil" is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. "Good Bad Not Evil" perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics. Referencing The Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘VeniVidi Vici’, ‘Cold Hands’, ‘Bad Kids’, and ‘O Katrina!’ immediately became Black Lips staples. Packaged in a gatefold sleeve with spot gloss, liner notes, and download card.
December 2 street date. Bending scuzzy boundaries, "Good Bad Not Evil" is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. "Good Bad Not Evil" perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics. Referencing The Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘VeniVidi Vici’, ‘Cold Hands’, ‘Bad Kids’, and ‘O Katrina!’ immediately became Black Lips staples.
January 24 street date. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
January 24 street date. Limited deluxe red vinyl edition, with a die cut spot gloss sleeve and poster - available exclusively to indie shops. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
October 22 street date. On "Fast Idol", Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. Melodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson's San Francisco. Emerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. Seeking to channel this spirit, Black Marble recalls the gauzy tape wow and flutter of The Membranes and the warbling VCO of Futurisk, carrying on a sound that seeks to channel the future while imprinting residue of the past.
October 22 street date. On "Fast Idol", Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. Melodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson's San Francisco. Emerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. Seeking to channel this spirit, Black Marble recalls the gauzy tape wow and flutter of The Membranes and the warbling VCO of Futurisk, carrying on a sound that seeks to channel the future while imprinting residue of the past.
October 22 street date. On "Fast Idol", Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. Melodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson's San Francisco. Emerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. Seeking to channel this spirit, Black Marble recalls the gauzy tape wow and flutter of The Membranes and the warbling VCO of Futurisk, carrying on a sound that seeks to channel the future while imprinting residue of the past.
October 22 street date. On "Fast Idol", Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. Melodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson's San Francisco. Emerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. Seeking to channel this spirit, Black Marble recalls the gauzy tape wow and flutter of The Membranes and the warbling VCO of Futurisk, carrying on a sound that seeks to channel the future while imprinting residue of the past.
February 28 street date. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
February 28 street date. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
May 28 street date. "Cavalcade" is a dynamic, hellacious, and inventive follow-up to 2019's widely-praised "Schlagenheim". It scales beautiful new heights, pulling widely from a plethora of genres and influences, reaching ever upwards from an already lofty base of early achievements. black midi - Geordie Greep (guitar, primary vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums) - picture "Cavalcade" as a line of larger than life figures, from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich, strolling seductively past them. "When you're listening, you can imagine all the characters form a sort of cavalcade. Each tells their story one by one and as each track ends they overtake you, replaced by the next in line," comments Picton. With original band member guitarist/vocalist Matt Kwasniewski-Kelvin taking time away from the group to focus on his mental health, black midi chose to augment their sound on "Cavalcade", rather than replicate it, with saxophonist Kaidi Akinnibi and keyboard player Seth Evans.
May 28 street date. "Cavalcade" is a dynamic, hellacious, and inventive follow-up to 2019's widely-praised "Schlagenheim". It scales beautiful new heights, pulling widely from a plethora of genres and influences, reaching ever upwards from an already lofty base of early achievements. black midi - Geordie Greep (guitar, primary vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums) - picture "Cavalcade" as a line of larger than life figures, from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich, strolling seductively past them. "When you're listening, you can imagine all the characters form a sort of cavalcade. Each tells their story one by one and as each track ends they overtake you, replaced by the next in line," comments Picton. With original band member guitarist/vocalist Matt Kwasniewski-Kelvin taking time away from the group to focus on his mental health, black midi chose to augment their sound on "Cavalcade", rather than replicate it, with saxophonist Kaidi Akinnibi and keyboard player Seth Evans.
July 15 street date. London three piece black midi present their third album, "Hellfire". Written in isolation in 2021 almost immediately after its predecessor, black midi pick up right where they left off. Building on the melodic and harmonic elements of "Cavalcade", and expanding on the brutality and intensity of their debut ("Schlagenheim"), "Hellfire" is their most thematically cohesive and intentional album yet. As lead-singer Geordie describes it: "if "Cavalcade" was a drama, "Hellfire" is like an epic action film" that delves into overlapping themes of pain, loss and anguish. But as always, the type of music black midi play isn't as important as its quality, and whatever you think about their music isn't as important as how you feel about it.
July 15 street date. London three piece black midi present their third album, "Hellfire". Written in isolation in 2021 almost immediately after its predecessor, black midi pick up right where they left off. Building on the melodic and harmonic elements of "Cavalcade", and expanding on the brutality and intensity of their debut ("Schlagenheim"), "Hellfire" is their most thematically cohesive and intentional album yet. As lead-singer Geordie describes it: "if "Cavalcade" was a drama, "Hellfire" is like an epic action film" that delves into overlapping themes of pain, loss and anguish. But as always, the type of music black midi play isn't as important as its quality, and whatever you think about their music isn't as important as how you feel about it.
July 15 street date. London three piece black midi present their third album, "Hellfire". Written in isolation in 2021 almost immediately after its predecessor, black midi pick up right where they left off. Building on the melodic and harmonic elements of "Cavalcade", and expanding on the brutality and intensity of their debut ("Schlagenheim"), "Hellfire" is their most thematically cohesive and intentional album yet. As lead-singer Geordie describes it: "if "Cavalcade" was a drama, "Hellfire" is like an epic action film" that delves into overlapping themes of pain, loss and anguish. But as always, the type of music black midi play isn't as important as its quality, and whatever you think about their music isn't as important as how you feel about it.
December 2 street date. "Everything Returns" reconvenes the original Black Ox Orkestar lineup after a 15-year hiatus. Arising from the fertile Montréal post-punk agit-prop scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss, and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville. Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore's politically-charged Yiddish vocals. Exquisitely recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio), "Everything Returns" picks up right where the band left off: an incisively atmospheric, melancholic yet resolute album of uniquely modern Jewish folk music, with piano, violin, upright bass, clarinet and cymbalom making up the core instrumentation, and the vocal tunes sung primarily in Yiddish. "Everything Returns" is a sublime, poetic, politically-informed statement of re-energized diasporic musical intent, where Gilmore's voice and the band’s simmering arrangements conjure an ardent, doleful balladry that echoes the sound and sensibility of artists like Tindersticks, The National, Nick Cave, and Leonard Cohen.
December 2 street date. "Everything Returns" reconvenes the original Black Ox Orkestar lineup after a 15-year hiatus. Arising from the fertile Montréal post-punk agit-prop scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss, and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville. Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore's politically-charged Yiddish vocals. Exquisitely recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio), "Everything Returns" picks up right where the band left off: an incisively atmospheric, melancholic yet resolute album of uniquely modern Jewish folk music, with piano, violin, upright bass, clarinet and cymbalom making up the core instrumentation, and the vocal tunes sung primarily in Yiddish. "Everything Returns" is a sublime, poetic, politically-informed statement of re-energized diasporic musical intent, where Gilmore's voice and the band’s simmering arrangements conjure an ardent, doleful balladry that echoes the sound and sensibility of artists like Tindersticks, The National, Nick Cave, and Leonard Cohen.
June 24 street date. On September 29, 2021 - the year of the band's 20th anniversary - Kentucky's favorite sons, Black Stone Cherry realized their childhood dream of playing at the legendary Royal Albert Hall, London. And they don't disappoint as they open with the explosive "Me and Mary Jane". From clubs to arenas and Festival headline performances, no one puts on the kind of show that these boys do. They tear through an impressive back catalog, playing songs from their most recent studio album "The Human Condition" through to their biggest hits and fan favorites. The band have always belonged to the fans and vice versa, which is why when you hear those songs emanate from the stage and then sung back, every fan in the world can close their eyes and remember either being there or imagine being there and the sheer joy and pride in the boys for realizing a dream. On the Blu-ray, the live footage is dotted with behind-the-scenes interviews, fly on the wall footage and archival insights into the band as kids first starting out, snippets of their first ever UK tour and heartfelt moments of reflection.
June 24 street date. On September 29, 2021 - the year of the band's 20th anniversary - Kentucky's favorite sons, Black Stone Cherry realized their childhood dream of playing at the legendary Royal Albert Hall, London. And they don't disappoint as they open with the explosive "Me and Mary Jane". From clubs to arenas and Festival headline performances, no one puts on the kind of show that these boys do. They tear through an impressive back catalog, playing songs from their most recent studio album "The Human Condition" through to their biggest hits and fan favorites. The band have always belonged to the fans and vice versa, which is why when you hear those songs emanate from the stage and then sung back, every fan in the world can close their eyes and remember either being there or imagine being there and the sheer joy and pride in the boys for realizing a dream.
February 26 street date. "In Ferneaux" explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. With "In Ferneaux", Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.
February 26 street date. "In Ferneaux" explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. With "In Ferneaux", Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.
June 10 street date. In 2021 the story of the infamous Unabomber Ted Kaczynski received its theatrical debut in a Tony Stone directed film, "Ted K". Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut "Calm With Horses". This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for best original film score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score of Ted K moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art.
June 10 street date. In 2021 the story of the infamous Unabomber Ted Kaczynski received its theatrical debut in a Tony Stone directed film, "Ted K". Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut "Calm With Horses". This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for best original film score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score of Ted K moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art.
October 28 street date. Blessed's sophomore full-length, "Circuitous", cements and expands on their status as a band's band: a patient, eclectic career outfit guided by the intense pursuit of an internally-dictated creative agenda. The group has sharpened their strengths, bringing an ever-growing depth of songwriting and artistic evolution to their craft. Composed from hours of jam material and hundreds of demos, "Circuitous" comprises eight tracks that sprawl and thrash and burst and fall. The record finds the band digging deeper into their vast collective catalog of influences, taking notes from groups as diverse as Mount Kimbie, Shabazz Palaces, Liquid Liquid, and Unwound. The result is a sweeping, hyperreal, industrial art-rock tragedy, rendered in walls of noise, controlled drums, meandering ambience, and staccato syncopation, while touching on topics like agoraphobia, isolation, grief, the hyper-control of capital and the numbness it breeds. Circuitous was mixed by John Congleton (Swans, St. Vincent, Wye Oak) and mastered by Greg Obis (Alabaster Deplume, Cloud Nothings, Stuck).
October 28 street date. Blessed's sophomore full-length, "Circuitous", cements and expands on their status as a band's band: a patient, eclectic career outfit guided by the intense pursuit of an internally-dictated creative agenda. The group has sharpened their strengths, bringing an ever-growing depth of songwriting and artistic evolution to their craft. Composed from hours of jam material and hundreds of demos, "Circuitous" comprises eight tracks that sprawl and thrash and burst and fall. The record finds the band digging deeper into their vast collective catalog of influences, taking notes from groups as diverse as Mount Kimbie, Shabazz Palaces, Liquid Liquid, and Unwound. The result is a sweeping, hyperreal, industrial art-rock tragedy, rendered in walls of noise, controlled drums, meandering ambience, and staccato syncopation, while touching on topics like agoraphobia, isolation, grief, the hyper-control of capital and the numbness it breeds. Circuitous was mixed by John Congleton (Swans, St. Vincent, Wye Oak) and mastered by Greg Obis (Alabaster Deplume, Cloud Nothings, Stuck).
July 9 street date. Feral art rock from the gritty depths of 1990s Manhattan. Japanese-Italian guitar symphonies for 120 Minutes refugees and Keith Haring enthusiasts alike. Blonde Redhead's self-titled 1995 debut, in print as a definitive single LP for the first time since - ever. "These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of 1960s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy" - Arto Lindsay.
July 9 street date. Art-house kosmische from the battered basements of pre-9/11 New York. Polyrhythmic screamo for underemployed Gen-Xers and trust fund weed dealers alike. "La Mia Vita Violenta", Blonde Redhead's 1995 sophomore effort, in print as a definitive single LP for the first time since - ever. "These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of 1960s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy" - Arto Lindsay.
Please note street date is July 31. (Legendary Montreal-based wildman of rock and roll and R & B has worked with Jon Spencer, King Khan, the 5678’s and Deke Dickerson!!) For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!
Please note street date is July 31. (Legendary Montreal-based wildman of rock and roll and R & B has worked with Jon Spencer, King Khan, the 5678’s and Deke Dickerson!!) For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!
September 24 street date. Long out of print on vinyl since its 1997 release. The Blue Stingrays' story starts in '59...the band formed that summer and created a new sound. that sound was surf music. Like those who roamed the globe for the perfect wave, The Blue Stingrays nailed the perfect sound when their twang rang 'round the world. A singular devotion to surf guitar music became a way of life for them and they considered it to be the only artform profound enough to truly express the passion in man's soul. THE FACTS in 2021: Upon its original release, the members of Blue Stingrays were touted as iconic yet anonymous surf rock pioneers. Now, after decades of whispers and speculation, the identities of these mysterious musicians have been officially confirmed as guitarist Mike Campbell (Tom Petty and The Heartbreakers/Fleetwood Mac/The Dirty Knobs), bassist Ron Blair (Tom Petty and The Heartbreakers) and drummer Randall Marsh (Mudcrutch).
September 24 street date. Long out of print on vinyl since its 1997 release - first time on coloured vinyl. The Blue Stingrays' story starts in '59...the band formed that summer and created a new sound. that sound was surf music. Like those who roamed the globe for the perfect wave, The Blue Stingrays nailed the perfect sound when their twang rang 'round the world. A singular devotion to surf guitar music became a way of life for them and they considered it to be the only artform profound enough to truly express the passion in man's soul. THE FACTS in 2021: Upon its original release, the members of Blue Stingrays were touted as iconic yet anonymous surf rock pioneers. Now, after decades of whispers and speculation, the identities of these mysterious musicians have been officially confirmed as guitarist Mike Campbell (Tom Petty and The Heartbreakers/Fleetwood Mac/The Dirty Knobs), bassist Ron Blair (Tom Petty and The Heartbreakers) and drummer Randall Marsh (Mudcrutch).
March 19 street date. Sophomore album from the Windsor duo who were nominated for a 2020 Juno for Breakthrough Group Of The Year. When Tarek Jafar and Justin Tessier formed The Blue Stones, they were facing uncertainty about who they were and where they were going. But they did know they wanted to make music together, and so they did, writing songs over time and eventually releasing their debut album "Black Holes" in 2018. As confident and self-assured as they are, that record was very much about the pair finding themselves, both musically and existentially, and deciding to pursue the rock 'n' roll dream by jumping into a black hole of the unknown instead of choosing a more ordinary life-path. The band drew the attention of producer, Paul Meany - the creative force behind alternative rock band Mutemath, and who recently worked with Twenty One Pilots, producing their fifth album, "Trench". Working with Meany didn't just lead to The Blue Stones exploring - and creating - music in a different way than they had before, but it also led Jafar to approach and tackle lyrics in an entirely new light. Combined with the band's nuanced and layered approach to their sound, it makes these songs resonate with a powerful emotional intensity.
March 19 street date. Sophomore album from the Windsor duo who were nominated for a 2020 Juno for Breakthrough Group Of The Year. When Tarek Jafar and Justin Tessier formed The Blue Stones, they were facing uncertainty about who they were and where they were going. But they did know they wanted to make music together, and so they did, writing songs over time and eventually releasing their debut album "Black Holes" in 2018. As confident and self-assured as they are, that record was very much about the pair finding themselves, both musically and existentially, and deciding to pursue the rock 'n' roll dream by jumping into a black hole of the unknown instead of choosing a more ordinary life-path. The band drew the attention of producer, Paul Meany - the creative force behind alternative rock band Mutemath, and who recently worked with Twenty One Pilots, producing their fifth album, "Trench". Working with Meany didn't just lead to The Blue Stones exploring - and creating - music in a different way than they had before, but it also led Jafar to approach and tackle lyrics in an entirely new light. Combined with the band's nuanced and layered approach to their sound, it makes these songs resonate with a powerful emotional intensity.
November 4 street date. Since bursting onto the scene with their acclaimed debut album "Black Holes", Windsor, Ontario's The Blue Stones have delivered a crowd-thrilling live show that defies the laws of physics, generating an impossibly massive sound from its two members alone. On their third album "Pretty Monster", the duo fully capture the controlled chaos and combustible energy of their live set for the very first time - all while expanding on the potent songwriting and sonic ingenuity shown on their first two albums. Despite the colossal growth they've experienced since getting their start playing dive bars in their small hometown, The Blue Stones instill every track with equal parts unchecked passion and a joyfully adventurous spirit. Mainly produced by multi-GRAMMY Award-winner Joe Chiccarelli (The White Stripes, The Strokes, Spoon), "Pretty Monster" came to life over 35 consecutive days of recording at an off-the-grid studio in Kingston, Ontario. During that time, lead vocalist/guitarist Tarek Jafar and drummer/backing vocalist Justin Tessier worked tirelessly in preserving the raw vitality of the album's demos while embedding each song with so many unexpected details (gritty beats, restless grooves, elegantly frenetic textures). A striking departure from the more atmospheric sound of "Hidden Gems", the result is a triumphant body of work that merges the hard-hitting dynamics of rock-and-roll with the indelibly catchy hooks of pop.
November 4 street date. Since bursting onto the scene with their acclaimed debut album "Black Holes", Windsor, Ontario's The Blue Stones have delivered a crowd-thrilling live show that defies the laws of physics, generating an impossibly massive sound from its two members alone. On their third album "Pretty Monster", the duo fully capture the controlled chaos and combustible energy of their live set for the very first time - all while expanding on the potent songwriting and sonic ingenuity shown on their first two albums. Despite the colossal growth they've experienced since getting their start playing dive bars in their small hometown, The Blue Stones instill every track with equal parts unchecked passion and a joyfully adventurous spirit. Mainly produced by multi-GRAMMY Award-winner Joe Chiccarelli (The White Stripes, The Strokes, Spoon), "Pretty Monster" came to life over 35 consecutive days of recording at an off-the-grid studio in Kingston, Ontario. During that time, lead vocalist/guitarist Tarek Jafar and drummer/backing vocalist Justin Tessier worked tirelessly in preserving the raw vitality of the album's demos while embedding each song with so many unexpected details (gritty beats, restless grooves, elegantly frenetic textures). A striking departure from the more atmospheric sound of "Hidden Gems", the result is a triumphant body of work that merges the hard-hitting dynamics of rock-and-roll with the indelibly catchy hooks of pop.
November 5 street date. 10 year anniversary edition of "Adventures In Counter Culture", which has been out of print on vinyl since 2013. First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On "Adventures in Counter Culture", he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90s, but soon found himself hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock and electronic music with his love of hip hop, the more he was able to break down that creative barrier. This edition comes packaged in a 12" gatefold jacket with matte UV and spot-gloss finish, housing custom blue and purple coloured vinyl, and includes a 24-page zine and a digital download card.
October 22 street date. New album from Dean Blunt. "The songs here are among the most beautiful and hypnotic in Blunt’s vast catalog - "Black Metal 2" is a hushed and disarmingly gorgeous record" - Bandcamp. "Serene, orchestral, folk-pop jangle", "One of our most anticipated releases of 2021" - FADER. "A brief but thrilling project from the mercurial artist". "It is the clearest Dean Blunt has ever sounded and one of his most thrilling releases to date" - Pitchfork 8.1/10.
October 22 street date. New album from Dean Blunt. "The songs here are among the most beautiful and hypnotic in Blunt’s vast catalog - "Black Metal 2" is a hushed and disarmingly gorgeous record" - Bandcamp. "Serene, orchestral, folk-pop jangle", "One of our most anticipated releases of 2021" - FADER. "A brief but thrilling project from the mercurial artist". "It is the clearest Dean Blunt has ever sounded and one of his most thrilling releases to date" - Pitchfork 8.1/10.
Please note new street date: September 24. "The Bob's Burgers Music Album Vol. 2" includes nearly every single musical morsel from seasons 7 through 9. This 90-song smorgasbord will feature the Belcher family as well as the show's numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). For fans of the show, enjoying the music of Bob's Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration "Hot Pants Rain Dance", sing along with the musical theater gem, "The Wedding Is My Warzone", or do whatever you're gonna do to "Sexy Little Tiger", but don't miss "The Bob's Burgers Music Album Vol. 2".
Please note new street date for CD: August 27. "The Bob's Burgers Music Album Vol. 2" includes nearly every single musical morsel from seasons 7 through 9. This 90-song smorgasbord will feature the Belcher family as well as the show's numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). For fans of the show, enjoying the music of Bob's Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration "Hot Pants Rain Dance", sing along with the musical theater gem, "The Wedding Is My Warzone", or do whatever you're gonna do to "Sexy Little Tiger", but don't miss "The Bob's Burgers Music Album Vol. 2".
Please note new street date: September 24. "The Bob's Burgers Music Album Vol. 2" includes nearly every single musical morsel from seasons 7 through 9. This 90-song smorgasbord will feature the Belcher family as well as the show's numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). For fans of the show, enjoying the music of Bob's Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration "Hot Pants Rain Dance", sing along with the musical theater gem, "The Wedding Is My Warzone", or do whatever you're gonna do to "Sexy Little Tiger", but don't miss "The Bob's Burgers Music Album Vol. 2". The 3 LP box set edition includes a box containing a rigid book-style LP jacket with lyric book, 62-page softcover song book, two posters, die-cut colourform clings, and custom dust sleeves.
Please note new street date: September 24. "The Bob's Burgers Music Album Vol. 2" includes nearly every single musical morsel from seasons 7 through 9. This 90-song smorgasbord will feature the Belcher family as well as the show's numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). For fans of the show, enjoying the music of Bob's Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration "Hot Pants Rain Dance", sing along with the musical theater gem, "The Wedding Is My Warzone", or do whatever you're gonna do to "Sexy Little Tiger", but don't miss "The Bob's Burgers Music Album Vol. 2".
July 1 street date. Solo debut by Naima Bock, formerly of London band Goat Girl. The roots of Naima's music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England. This heritage combines with more recent pursuits in Naima's music. From the Brazilian standards that the family listened to while driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today, Naima's music draws from family, the earth and music handed down through generations. Naima's debut album "Giant Palm" is undoubtedly infused with the Brazilian music of her youth and regular family visits. Recorded with the help of over 30 musicians (including Josh Cohen on synth/electronics) by Dan Carey of Speedy Wunderground at his studio space, the songs on "Giant Palm" represent a snapshot of a specific feeling, of brief moments in Naima's life that make up a larger whole. The expansive yet delicate arrangements highlight Naima’s love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something.
July 1 street date. Solo debut by Naima Bock, formerly of London band Goat Girl. The roots of Naima's music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England. This heritage combines with more recent pursuits in Naima's music. From the Brazilian standards that the family listened to while driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today, Naima's music draws from family, the earth and music handed down through generations. Naima's debut album "Giant Palm" is undoubtedly infused with the Brazilian music of her youth and regular family visits. Recorded with the help of over 30 musicians (including Josh Cohen on synth/electronics) by Dan Carey of Speedy Wunderground at his studio space, the songs on "Giant Palm" represent a snapshot of a specific feeling, of brief moments in Naima's life that make up a larger whole. The expansive yet delicate arrangements highlight Naima’s love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something.
March 13 street date. Where The Bombpops had a "Fear Of Missing Out" on their 2017 debut full-length, their highly anticipated follow up shows what happens when you're too involved - with booze, bad situations, and behavior that's unsustainable at best and destructive at worst. It's right there in the title - "Death In Venice Beach" - an allusion to Thomas Mann's celebrated novella about the price of an artistic life. What draws The Bombpops hasn't changed on their newest effort: highly melodic punk with big guitars, vocal harmonies, and the SoCal sound that inspired the quartet to pick up instruments. But the more light-hearted skate punk of "Fear Of Missing Out" has a serrated edge on "Death In Venice Beach", as they explore darker themes drawing from real life experiences leading up to and during the making of the album.
March 13 street date. Where The Bombpops had a "Fear Of Missing Out" on their 2017 debut full-length, their highly anticipated follow up shows what happens when you're too involved - with booze, bad situations, and behavior that's unsustainable at best and destructive at worst. It's right there in the title - "Death In Venice Beach" - an allusion to Thomas Mann's celebrated novella about the price of an artistic life. What draws The Bombpops hasn't changed on their newest effort: highly melodic punk with big guitars, vocal harmonies, and the SoCal sound that inspired the quartet to pick up instruments. But the more light-hearted skate punk of "Fear Of Missing Out" has a serrated edge on "Death In Venice Beach", as they explore darker themes drawing from real life experiences leading up to and during the making of the album.
March 27 street date. Bon Iver's "Blood Bank" EP was originally released in early 2009, hot on the heels of the beloved album "For Emma, Forever Ago". The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks, all recorded at various venues in 2018.
March 25 street date. Last June marked the ten year anniversary of the worldwide release of Bon Iver's highly acclaimed sophomore release "Bon Iver, Bon Iver". To commemorate the occasion, the band and Jagjaguwar will release a limited edition reissue of the influential album. This edition features five songs from Bon Iver's beautiful AIR Studios session, which captures the grand spirit of "Bon Iver, Bon Iver" and distills it into sharper focus, as Justin Vernon and Sean Carey perform the songs as a duo, on grand pianos and vocals only. The physical release of "Bon Iver, Bon Iver (10th anniversary edition)" features a blind embossed version of the original cover art and an intimate personal essay from long-time fan Phoebe Bridgers recalling how the "massive, sprawling, unbelievably complex" album brings about both yearning for yesterday, contentment for the present, and
collective hope for the future. The album's iconic cover art has been reimagined to a minimal white-on-white, with a white LP to match.
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.
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.
Available now. Black vinyl edition of the new album from Bonny Light Horseman (all previous orders have been cancelled). 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. These songs continually suggest and embody an unspoken continuum between traditional and modern folk. The band thrives in rendering fresh wisdom and insight from old models, whether scraps of ancient songs or the spark of entwined voices. Theirs is a space created for sharing, learning, singing, and playing as one.
Please note new street date: August 14. In an emotional musical journey, Booker T explores new takes on the songs that make up the fabric of his musical identity. Largely mirroring the chapter titles from his forthcoming memoir "Time Is Tight", "Note By Note" serves as a musical companion. Stax staples like "Cause I Love You" and "These Arms Of Mine" are woven into defining musical moments from Booker's journey after Stax, when he produced and recorded with artists as diverse as Willie Nelson and Carlos Santana. Booker T & The MG's fans will enjoy a new ending to the song "Time Is Tight", a Romanesque coda that has been played live yet never recorded. The album culminates with new original music, highlighting the soaring guitar and vocals of Booker's son and collaborator Teddy Jones. Booker T is a 4 time Grammy Award winner (including the Lifetime Achievement Award), Rock and Roll Hall of Fame Inductee, and arguably the most famous Hammond B3 player in history.
Please note new street date: August 14. Orange vinyl pressing of this late 2019 release. In an emotional musical journey, Booker T explores new takes on the songs that make up the fabric of his musical identity. Largely mirroring the chapter titles from his forthcoming memoir "Time Is Tight", "Note By Note" serves as a musical companion. Stax staples like "Cause I Love You" and "These Arms Of Mine" are woven into defining musical moments from Booker's journey after Stax, when he produced and recorded with artists as diverse as Willie Nelson and Carlos Santana. Booker T & The MG's fans will enjoy a new ending to the song "Time Is Tight", a Romanesque coda that has been played live yet never recorded. The album culminates with new original music, highlighting the soaring guitar and vocals of Booker's son and collaborator Teddy Jones. Booker T is a 4 time Grammy Award winner (including the Lifetime Achievement Award), Rock and Roll Hall of Fame Inductee, and arguably the most famous Hammond B3 player in history.
January 21 street date. In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, "NO". The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album "Interlude" with anticipation of a follow-up. The follow-up comes with "W", the band's debut album for their new label Sacred Bones Records. In contrast to the extreme sounds found on "NO", this new album whispers into the listener's ear with a trembling hazy sound meant to awaken sensation. On all of "W" Wata carries the lead vocal duties. In general the styles on the album range from noise to new age, as is typical with one of our generation's most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell.
January 21 street date. In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, "NO". The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album "Interlude" with anticipation of a follow-up. The follow-up comes with "W", the band's debut album for their new label Sacred Bones Records. In contrast to the extreme sounds found on "NO", this new album whispers into the listener's ear with a trembling hazy sound meant to awaken sensation. On all of "W" Wata carries the lead vocal duties. In general the styles on the album range from noise to new age, as is typical with one of our generation's most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell.
January 21 street date. In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, "NO". The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album "Interlude" with anticipation of a follow-up. The follow-up comes with "W", the band's debut album for their new label Sacred Bones Records. In contrast to the extreme sounds found on "NO", this new album whispers into the listener's ear with a trembling hazy sound meant to awaken sensation. On all of "W" Wata carries the lead vocal duties. In general the styles on the album range from noise to new age, as is typical with one of our generation's most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell.
January 21 street date. In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, "NO". The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album "Interlude" with anticipation of a follow-up. The follow-up comes with "W", the band's debut album for their new label Sacred Bones Records. In contrast to the extreme sounds found on "NO", this new album whispers into the listener's ear with a trembling hazy sound meant to awaken sensation. On all of "W" Wata carries the lead vocal duties. In general the styles on the album range from noise to new age, as is typical with one of our generation's most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell.
December 23 street date. Le très attendu deuxième album de Gab Bouchard «Grafignes» promet d'approfondir encore plus tout ce qui a fait la grandeur du premier disque (1,5 M + de streams sur toutes les plateformes), mélangeant country, pop, influences des années 70, gros riffs, refrains qui font chanter, et beaucoup de piano qui montre Gab Bouchard à son meilleur. / The hotly anticipated second album "Grafignes" promises to delve even more deeply into everything that made the first record (1,5 M + streams on all platforms) great, mixing country, pop, 70s influences, big riffs, sing-along choruses, and a lot of piano playing that shows Gab Bouchard at his best.
August 19 street date. The self-titled Epitaph debut from East Coast punkers the Bouncing Souls is an irreverent romp filled with melodic riffs and dangerously catchy, upbeat punk rock anthems. An instant classic, filled with many favs, such as "East Coast! Fuck You!" and "The Toilet Song". "The Bouncing Souls" is an exuberant collection of ?st-pumping punk rock. Reissued on iridescent gold vinyl to celebrate the 25th anniversary of the release!
April 30 street date. "becalmyounglovers" is as much a return as it is a farewell. Phil Moore's first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. Like a polaroid slowly swimming into focus, "becalmyounglovers" reconciles the memories of yourself in relation to another person, and then what's unearthed when you're left to face your identity alone - and which one of those selves is true? Written and recorded mainly
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The Digest 
King Tuff
Bria
