October 30 for LP / November 13 for CD (date change). For over two decades, Atmosphere have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that shaped him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop's pioneering producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks. At its essence, Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life. Much like everything else in 2020 though, Atmosphere's new album, "The Day Before Halloween", is something of a detour from the anticipated path. Cutting loose and eschewing their established norms, Slug and Ant have delivered the anti-pop answer to the content and compositions of previous albums. Over razor-sharp drums and distorted synths, "The Day Before Halloween" explores the life of a visual artist living in an antiquated surveillance state. If you've entertained any theories that we've slipped into an alternate reality, you may find further evidence in this dark and brooding release of future's past.
October 30 street date. Cindy Lee, the performance and songwriting vehicle of Calgary based artist Patrick Flegel (who fronted influential indie group Women earlier), previously stunned listeners with "Act Of Tenderness", a heart-wrenching statement informed by the noirish core of celebrity, and has continued to enchant with every album, including the startling "What's Tonight To Eternity" released earlier this year and which was longlisted for the 2020 Polaris Music Prize. "Model Express" originally appeared as a self-released edition of 100 gold cassettes. The arch, filmic drama of Cindy Lee's songwriting - realized with keyboards, guitars, aching voice and collaged, lo-fi production - traverses a wide range of emotional and sonic terrain. "Model Express" finds Flegel at both their most experimental and immediately melodic, and this first-time vinyl release recognizes the collected tracks as a pillar in the Cindy Lee catalogue.
October 30 street date. To call The Distillers simply a punk band doesn't do justice to either the band or the word "punk". Guitarist, lyricist, and vocalist Brody Dalle uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Recorded in 2000, their self-titled album is a throwback to the raw, in-your-face aggression reminiscent of late 1970s/early 1980s punk. In celebration of the 20th anniversary, "The Distillers" has been remastered and will available on coloured vinyl for the first time. The band are currently in the studio working on a new album expected out in 2020.
October 30 street date. Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released twelve studio albums since their 1996 debut, "Beautiful Freak". "Earth To Dora", recorded at Eels' Los Feliz, California studio, makes thirteen. Speaking about the new record, E says "these songs came about just before the pandemic hit and changed everything. I'm hoping they can be, maybe kind of soothing or something. To hear songs dealing with things we are dreaming about getting back to. Or maybe people are dealing with some of the topics right now as well. Just one song was done in the thick of the early pandemic days, 'Are We Alright Again,' which is kind of a quarantine daydream I desperately needed to have".
October 30 street date. Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released twelve studio albums since their 1996 debut, "Beautiful Freak". "Earth To Dora", recorded at Eels' Los Feliz, California studio, makes thirteen. Speaking about the new record, E says "these songs came about just before the pandemic hit and changed everything. I'm hoping they can be, maybe kind of soothing or something. To hear songs dealing with things we are dreaming about getting back to. Or maybe people are dealing with some of the topics right now as well. Just one song was done in the thick of the early pandemic days, 'Are We Alright Again,' which is kind of a quarantine daydream I desperately needed to have".
October 30 street date. Limited 2 LP 180g coloured vinyl edition, exclusively available to independent shops. Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released twelve studio albums since their 1996 debut, "Beautiful Freak". "Earth To Dora", recorded at Eels' Los Feliz, California studio, makes thirteen. Speaking about the new record, E says "these songs came about just before the pandemic hit and changed everything. I'm hoping they can be, maybe kind of soothing or something. To hear songs dealing with things we are dreaming about getting back to. Or maybe people are dealing with some of the topics right now as well. Just one song was done in the thick of the early pandemic days, 'Are We Alright Again,' which is kind of a quarantine daydream I desperately needed to have". Along with the vinyl, this package includes a litho print, digisleeve CD with booklet, a 12"slipmat, sticker sheet, and two fridge magnets, packaged in a deluxe box.
October 30 street date. After an absence of 30 years, the first edition of Robert Fripp's "exposure" is available on vinyl again, now as 200-gram vinyl. The album has been mastered by Jason Mitchell at LOUD mastering from masters approved by Robert Fripp. The new 2 LP edition consists of the original 1979 release on LP1, while LP2 presents the 2006 third edition on vinyl for the first time. This is essentially, a version of the 1983 remix/1985 reissue with the inclusion of the 3 formerly unreleased Daryl Hall vocal tracks.
Please note new street date: October 30. It has been more than 20 years since NOFX released arguably one of the most important (and looooooongest) song in punk rock history. While the world was a very different place way back in 1999, "The Decline" is still just as relevant (if not more-so) today. After years of teasing to release a live version of this nearly 20 minutes opus in its entirety, the time has finally come. NOFX is ready to unleash "The Decline Live at Red Rocks". The song was played at the famous Red Rocks Amphitheater alongside a full orchestra (Baz and his Orchestra)! NOFX fans have longed for the day they would get to hear this elusive live track, and now they get it from the comfort of their living room. If that wasn't enough, also included is a brand new unreleased song on the b-side! Fans will be clamoring to get their hands on this one.
October 30 street date. In 1974, Jeremiah Sand and his nascent cult The Children Of The New Dawn decamp LA for the Shasta Mountain region and Redding, CA. They set up shop, begin printing leaflets, hold gatherings and start growing their ranks through recruitment. Jeremiah and the Children are not necessarily an odd addition to Redding in 1974. A few years prior to assembling his flock, Sand had self produced and released an album of psych-folk that was unremarkable in almost every way, save for the unrelenting vanity and egoism on display in the lyrics. This early album is one of the only existing documents of Sand. By mid 1974, the Children have grown in rank and Jeremiah becomes obsessed with recording "his masterpiece". Recorded under truly bizarre circumstances, here is this lost artifact of the transitional period between the late 60s and late 70s. A flawed and malignant sounding unfinished thing, clearly the product of a psychotically inflated ego and hubris. The album is by turns: amateurish, haunting, deranged, ridiculous and (for those attuned to these things) filled with crackling negative psychic energies.
October 30 street date. Purple vinyl edition, limited to 1500 copies. In 1974, Jeremiah Sand and his nascent cult The Children Of The New Dawn decamp LA for the Shasta Mountain region and Redding, CA. They set up shop, begin printing leaflets, hold gatherings and start growing their ranks through recruitment. Jeremiah and the Children are not necessarily an odd addition to Redding in 1974. A few years prior to assembling his flock, Sand had self produced and released an album of psych-folk that was unremarkable in almost every way, save for the unrelenting vanity and egoism on display in the lyrics. This early album is one of the only existing documents of Sand. By mid 1974, the Children have grown in rank and Jeremiah becomes obsessed with recording "his masterpiece". Recorded under truly bizarre circumstances, here is this lost artifact of the transitional period between the late 60s and late 70s. A flawed and malignant sounding unfinished thing, clearly the product of a psychotically inflated ego and hubris. The album is by turns: amateurish, haunting, deranged, ridiculous and (for those attuned to these things) filled with crackling negative psychic energies.
October 30 street date. It's been four years since "Sweatbox Dynasty", the fourth solo LP from Pennsylvanian experimentalist TOBACCO. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series "Silicon Valley", and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for "Hot Wet & Sassy", a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound -blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss - here they've bubbled to the top. Includes a collaboration with Trent Reznor on the track "Babysitter" - a work of alchemy seamlessly blending TOBACCO's trademarks with Reznor's industrial rust and sonic gore.
October 30 street date. It's been four years since "Sweatbox Dynasty", the fourth solo LP from Pennsylvanian experimentalist TOBACCO. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series "Silicon Valley", and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for "Hot Wet & Sassy", a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound -blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss - here they've bubbled to the top. Includes a collaboration with Trent Reznor on the track "Babysitter" - a work of alchemy seamlessly blending TOBACCO's trademarks with Reznor's industrial rust and sonic gore.
October 30 street date. Black & clear striped vinyl edition, limited to 2000 copies worldwide. It's been four years since "Sweatbox Dynasty", the fourth solo LP from Pennsylvanian experimentalist TOBACCO. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series "Silicon Valley", and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for "Hot Wet & Sassy", a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound -blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss - here they've bubbled to the top. Includes a collaboration with Trent Reznor on the track "Babysitter" - a work of alchemy seamlessly blending TOBACCO's trademarks with Reznor's industrial rust and sonic gore.
October 30 street date. Magnetic Eye bows at the Birmingham altar to celebrate Black Sabbath's 50th anniversary, offering an end-to-end re-imagining of "Vol. 4", one of the most acclaimed albums in the Sabbath canon. A pantheon of metal and doom heavyweights, including some of metal's most famously Sabbath-inspired icons, pays homage to the record where the masters began to expand their minds and their weighty foundation. "Vol. 4 [Redux]" features stunning takes on each song from the undeniable classic, with incomparable tributes by Matt Pike, Haunt, The Obsessed, Thou, Zakk Sabbath, Spirit Adrift, and more.
October 30 street date. Magnetic Eye bows at the Birmingham altar to celebrate Black Sabbath's 50th anniversary, offering an end-to-end re-imagining of "Vol. 4", one of the most acclaimed albums in the Sabbath canon. A pantheon of metal and doom heavyweights, including some of metal's most famously Sabbath-inspired icons, pays homage to the record where the masters began to expand their minds and their weighty foundation. "Vol. 4 [Redux]" features stunning takes on each song from the undeniable classic, with incomparable tributes by Matt Pike, Haunt, The Obsessed, Thou, Zakk Sabbath, Spirit Adrift, and more.
October 30 street date. Magnetic Eye bows at the Birmingham altar to celebrate Black Sabbath's 50th anniversary, offering an end-to-end re-imagining of "Vol. 4", one of the most acclaimed albums in the Sabbath canon. A pantheon of metal and doom heavyweights, including some of metal's most famously Sabbath-inspired icons, pays homage to the record where the masters began to expand their minds and their weighty foundation. "Vol. 4 [Redux]" features stunning takes on each song from the undeniable classic, with incomparable tributes by Matt Pike, Haunt, The Obsessed, Thou, Zakk Sabbath, Spirit Adrift, and more.
October 30 street date. Magnetic Eye bows at the Birmingham altar to celebrate Black Sabbath's 50th anniversary, offering an end-to-end re-imagining of "Vol. 4", one of the most acclaimed albums in the Sabbath canon. A pantheon of metal and doom heavyweights, including some of metal's most famously Sabbath-inspired icons, pays homage to the record where the masters began to expand their minds and their weighty foundation. "Vol. 4 [Redux]" features stunning takes on each song from the undeniable classic, with incomparable tributes by Matt Pike, Haunt, The Obsessed, Thou, Zakk Sabbath, Spirit Adrift, and more.
October 30 street date. In uproarious celebration of Black Sabbath's 50th anniversary, Magnetic Eye presents a double album featuring 15 heart-stopping renditions of classic tunes from across the Sabbath discography by some of the riff-heaviest bands in the worldwide stoner doom scene. As a companion piece to "Vol. 4 Redux", "Best Of Black Sabbath" features both faithful takes and almost unrecognizable re-creations, all in devotion and tribute to the godfathers of metal. Includes ripping tracks from Earthless, Rwake, Caustic Casanova, Howling Giant, Elephant Tree and more.
October 30 street date. In uproarious celebration of Black Sabbath's 50th anniversary, Magnetic Eye presents a double album featuring 15 heart-stopping renditions of classic tunes from across the Sabbath discography by some of the riff-heaviest bands in the worldwide stoner doom scene. As a companion piece to "Vol. 4 Redux", "Best Of Black Sabbath" features both faithful takes and almost unrecognizable re-creations, all in devotion and tribute to the godfathers of metal. Includes ripping tracks from Earthless, Rwake, Caustic Casanova, Howling Giant, Elephant Tree and more.
October 30 street date. In uproarious celebration of Black Sabbath's 50th anniversary, Magnetic Eye presents a double album featuring 15 heart-stopping renditions of classic tunes from across the Sabbath discography by some of the riff-heaviest bands in the worldwide stoner doom scene. As a companion piece to "Vol. 4 Redux", "Best Of Black Sabbath" features both faithful takes and almost unrecognizable re-creations, all in devotion and tribute to the godfathers of metal. Includes ripping tracks from Earthless, Rwake, Caustic Casanova, Howling Giant, Elephant Tree and more.
October 30 street date. "I feel like I'm right back where I started", says Wynonna Judd, "like I'm 18 all over again. When I sing these songs, it feels like I'm coming home". Indeed, "Recollections", Wynonna's captivating new EP, marks both a literal and a figurative homecoming for the GRAMMY-winning icon, who recorded much of the collection while quarantining on her Tennessee farm in the midst of the COVID-19 pandemic. Forced off the road for the first time in years, she found herself reconnecting with her roots as she sang once again for the sheer joy of it, performing a series of loose and lively covers with her husband, former Highway 101 drummer, multi-instrumentalist and producer Cactus Moser. The resulting EP is a testament not only to Wynonna's status as a jaw dropping vocalist and electrifying frontwoman, but also a consummate interpreter of song and a dedicated student of craft. Wynonna drills down to the essence of each song, stripping back layer after layer until she's laid bare the raw, emotional core of the music. There's no pretense or posturing on "Recollections", just pure heart and soul.
November 6 street date. "Beyond Barricades: The Story of Anti-Flag" is a feature length documentary film that tells the story of political punk band Anti-Flag by diving into the world of punk rock and activism, shedding light on the trials and tribulations of playing politically charged music for over 25 years. An inspiring look at a group of musicians dedicating their lives to fighting for human rights through their songs and outreach. With their endless drive to help others, they put empathy over apathy and fight cynicism with optimism, but find that things could go tragically wrong at any moment. Features interviews with the band and contemporaries such as Tom Morello (Rage Against the Machine), Billy Bragg, Tim McIlrath (Rise Against), Brian Baker (Bad Religion), Chris Cresswell (The Flatliners, Hot Water Music), Tom May and Greg Barnett (The Menzingers) and many more help tell the story of a band whose drive to spread their message is truly unstoppable.
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.
November 6 street date. On the 15th anniversary of its original release, Rough Trade Records are excited to announce that a reissue of British Sea Power's majestic second album, ‘Open Season’, will be released on 6th November, 2020. The expanded limited edition release will include additional live sessions, B-sides and rarities from the period and extensive new sleeve notes. The limited edition CD replicates the LP track listing.
November 6 street date. On the 15th anniversary of its original release, Rough Trade Records are excited to announce that a reissue of British Sea Power's majestic second album, ‘Open Season’, will be released on 6th November, 2020. The expanded limited edition release will include additional live sessions, B-sides and rarities from the period and extensive new sleeve notes. The double LP is a one-off pressing, housed in a gatefold sleeve, the first disc on blue vinyl, with the second being a zoetrope picture disc. LP is limited to 2500 copies and will be numbered.
November 6 street date. After an 11-year hiatus, Murs and Slug are back with their fourth Felt album, "Felt 4 U". While their personal relationship is fundamental to Felt's legacy, with their comradery establishing itself as a driving force for their creativity, the production on Felt albums has also been a major part of their success. With notable changes in the sonic backdrops for each album, the MC's were allowed to share a unique side of themselves each release, while fine-tuning their styles and showcasing their own growth. A lot has changed since their last release in 2009, including for Murs and Slug themselves in both their personal and professional lives. Their careers have continued to elevate and their families have continued to grow, and this fourth album is something of a reflection of those changes, starting with the title of the project itself. Even amidst the changes we still find familiarities, like Ant making a return to handle full production on "Felt 4 U". Sonically, the album is overflowing with the influences of funk, soul, blues and even country flavors. This is a distinctly summery album, with the richness of Ant's production creating an overall warmth that envelops the whole project.
November 6 street date. Six years before the release of his landmark "Mother Earth's Plantasia" LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, "Didn't You Hear?". While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, "Didn't You Hear?" also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue "Didn't You Hear?" as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.
November 6 street date. Six years before the release of his landmark "Mother Earth's Plantasia" LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, "Didn't You Hear?". While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, "Didn't You Hear?" also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue "Didn't You Hear?" as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.
November 6 street date. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. Mort Garson's road to cool cultural caché and the sublimity of "Plantasia" meant a decades' long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at "Music From Patch Cord Productions", this set of queasy-listening. "Music From Patch Cord Productions" shows that Garson's knack was to exist in both worlds, super-commercial and waaay out. Via Garson,s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
November 6 street date. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. Mort Garson's road to cool cultural caché and the sublimity of "Plantasia" meant a decades' long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at "Music From Patch Cord Productions", this set of queasy-listening. "Music From Patch Cord Productions" shows that Garson's knack was to exist in both worlds, super-commercial and waaay out. Via Garson,s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
November 6 street date. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. Mort Garson's road to cool cultural caché and the sublimity of "Plantasia" meant a decades' long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at "Music From Patch Cord Productions", this set of queasy-listening. "Music From Patch Cord Productions" shows that Garson's knack was to exist in both worlds, super-commercial and waaay out. Via Garson,s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
November 6 street date. "Black Mass" is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic "Mother Earth's Plantasia". Originally released in 1971, it's his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson's synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they've inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes.
November 6 street date. "Black Mass" is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic "Mother Earth's Plantasia". Originally released in 1971, it's his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson's synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they've inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes.
November 6 street date. In January 1992, fresh off the glory that was the band’s 1991 double-7" debut, Polvo headed into Duck Kee Studios in Raleigh, NC (aka the place where a lot of early Merge stuff was recorded) to track what became their debut full-length. "Cor-Crane Secret" was released in July of that year, the same month as Sonic Youth's "Dirty" and Danzig's "Danzig III: How the Gods Kill". Opening with a new take on "Vibracobra", a bit of alternately languid and shuddering guitar churn that had appeared on a single the year before), "Cor-Crane Secret" established the first iteration of that Polvo sound: intricate guitar melodies, Mr. Bowie's plain-spoken vocals politely deep beneath the guitar waves, and cool ideas of how guitars could go together all over the place. In an era where guitar bands seemed to be blooming like wildflowers in a particularly fertile cow pasture, "Cor-Crane Secret" was a complicated bloom indeed. But Polvo was just getting started.
November 6 street date. "Today's Active Lifestyles", the second full-length by North Carolina rockers Polvo, did exactly what a sophomore LP is supposed to do: It expanded the ideas put forth in the first album, gave them a new spin and shine, and presented the "where we are now" to the world. Produced and recorded over four heady days in December 1992 by former Bostonian and ex-Volcano Suns bassist Bob Weston (around the time he started in Shellac), "Today's Active Lifestyles" hit record store shelves in April 1993. From the whizzing crunch of "Thermal Treasure" to the loping, connective "My Kimono" to the 7-minute-plus blowouts "Stinger (Five Wigs)" and closer "Gemini Cusp", the album asserted its place as a most worthy successor to "Cor-Crane Secret". The foreboding title of a particularly screechy, fuzzy jam, "Time Isn't on My Side", proved to be nonsense; "Today's Active Lifestyles" has aged beautifully.
November 6 street date. "Drums And Wires" is the tenth in a series of XTC Classics to be issued on a 200 gram vinyl edition. The initial run includes an extra 7" single, previously only available in the first pressing of the original UK vinyl release. The album has been mastered by Jason Mitchell at LOUD mastering with input from Andy Partridge and is fully approved by XTC. Includes the classic hits "Making Plans For Nigel" and "Life Begins At The Hop".
November 13 street date. The all-new "Spirit World Field Guide" offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. It's been a long road for Aesop Rock to get here, releasing a steady stream of impressive albums, singles, and collaborative projects that have continued to invigorate, solidify and grow his diverse fan base, but he shows no signs of slowing down or deviating from his path, constantly pushing his creative limits. Since his debut in the late 90s, Aesop Rock's writing has been of the highest caliber, but one thing that has continually evolved is his near-flawless and diverse flow, now perfectly infused with his personality and a gift for visual imagery. On "Spirit World Field Guide", characters, inanimate objects, and their surrounding environments vividly come to life as Aesop describes each passing moment throughout the album.
November 13 street date. The all-new "Spirit World Field Guide" offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. It's been a long road for Aesop Rock to get here, releasing a steady stream of impressive albums, singles, and collaborative projects that have continued to invigorate, solidify and grow his diverse fan base, but he shows no signs of slowing down or deviating from his path, constantly pushing his creative limits. Since his debut in the late 90s, Aesop Rock's writing has been of the highest caliber, but one thing that has continually evolved is his near-flawless and diverse flow, now perfectly infused with his personality and a gift for visual imagery. On "Spirit World Field Guide", characters, inanimate objects, and their surrounding environments vividly come to life as Aesop describes each passing moment throughout the album.
November 13 for CD (date change) / October 30 for LP. For over two decades, Atmosphere have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that shaped him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop's pioneering producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks. At its essence, Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life. Much like everything else in 2020 though, Atmosphere's new album, "The Day Before Halloween", is something of a detour from the anticipated path. Cutting loose and eschewing their established norms, Slug and Ant have delivered the anti-pop answer to the content and compositions of previous albums. Over razor-sharp drums and distorted synths, "The Day Before Halloween" explores the life of a visual artist living in an antiquated surveillance state. If you've entertained any theories that we've slipped into an alternate reality, you may find further evidence in this dark and brooding release of future's past.
November 13 street date. The fourth release from Jazz Is Dead records features Azymuth, one of the bands in Brazilian history, redefining Popular Brazilian Music. Having released almost 20 albums in their career, Azymuth proves to be a consistent source for an innovative mix of jazz, pop, MPB, and electronic music.
November 13 street date. The fourth release from Jazz Is Dead records features Azymuth, one of the bands in Brazilian history, redefining Popular Brazilian Music. Having released almost 20 albums in their career, Azymuth proves to be a consistent source for an innovative mix of jazz, pop, MPB, and electronic music.
November 13 street date. Limited red vinyl edition. Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing", "Christmas Songs" is the record you need to get your holiday household's toes tapping.
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.
November 13 street date. Spanning the last 38 years (and with no lineup changes!), The Bats have clocked nine incredible albums; each one seeing the band evolve with new material from the prolific songwriting hand of Robert Scott. Add to that tally the extra singles, b-sides, EPs, compilations and tribute songs they've recorded, creating a succinct setlist is a nearly impossible task.Their tenth album, "Foothills" was recorded in Spring 2018 at a country retreat pop-up studio. At that time, 15 songs were captured and immortalised in the Canterbury foothills of the Southern Alps, Aotearoa (New Zealand). Only too well, The Bats know the possibilities, potentialities and sonic vistas that arise when one takes the reins for the recording process in a beautiful place that's on home turf. The four-piece has created twisted wistful folk, psychedelic rock, bouncy twee pop, and everything in between, but whatever the genre, their sound is always distinctively, unmistakably The Bats.
November 13 street date. Spanning the last 38 years (and with no lineup changes!), The Bats have clocked nine incredible albums; each one seeing the band evolve with new material from the prolific songwriting hand of Robert Scott. Add to that tally the extra singles, b-sides, EPs, compilations and tribute songs they've recorded, creating a succinct setlist is a nearly impossible task.Their tenth album, "Foothills" was recorded in Spring 2018 at a country retreat pop-up studio. At that time, 15 songs were captured and immortalised in the Canterbury foothills of the Southern Alps, Aotearoa (New Zealand). Only too well, The Bats know the possibilities, potentialities and sonic vistas that arise when one takes the reins for the recording process in a beautiful place that's on home turf. The four-piece has created twisted wistful folk, psychedelic rock, bouncy twee pop, and everything in between, but whatever the genre, their sound is always distinctively, unmistakably The Bats.
November 13 street date. Featuring three brothers, Yorkshire, England's The Cribs are back and on blistering form, brandishing their brand new eighth album, "Night Network". Follwing the release of their Steve Albini engineered album, "24-7 Rock Star Shit" in 2017, the band immediately parted ways with their long time management and found themselves stuck in what Gary describes as a "legal morass," unable to record or release new music, or tour. The turning point came at the 11th hour, in the late summer of 2018. The Cribs had been invited to support Foo Fighters in Manchester, in what could very well have been the band's last hurrah. "Dave Grohl was just like, '"forget about all that business stuff, just come out to LA and make a record at our studio," recalls Ryan. The self-produced 12-track album is as fresh, cathartic and vital as anything they've ever put out. There's no weariness, no bitterness, just a clear desire to get back to doing what they do best - that unique blend of bittersweet melody, brutal lyrical honesty and riffs for days.
November 13 street date. Featuring three brothers, Yorkshire, England's The Cribs are back and on blistering form, brandishing their brand new eighth album, "Night Network". Follwing the release of their Steve Albini engineered album, "24-7 Rock Star Shit" in 2017, the band immediately parted ways with their long time management and found themselves stuck in what Gary describes as a "legal morass," unable to record or release new music, or tour. The turning point came at the 11th hour, in the late summer of 2018. The Cribs had been invited to support Foo Fighters in Manchester, in what could very well have been the band's last hurrah. "Dave Grohl was just like, '"forget about all that business stuff, just come out to LA and make a record at our studio," recalls Ryan. The self-produced 12-track album is as fresh, cathartic and vital as anything they've ever put out. There's no weariness, no bitterness, just a clear desire to get back to doing what they do best - that unique blend of bittersweet melody, brutal lyrical honesty and riffs for days.
November 13 street date. Featuring three brothers, Yorkshire, England's The Cribs are back and on blistering form, brandishing their brand new eighth album, "Night Network". Follwing the release of their Steve Albini engineered album, "24-7 Rock Star Shit" in 2017, the band immediately parted ways with their long time management and found themselves stuck in what Gary describes as a "legal morass," unable to record or release new music, or tour. The turning point came at the 11th hour, in the late summer of 2018. The Cribs had been invited to support Foo Fighters in Manchester, in what could very well have been the band's last hurrah. "Dave Grohl was just like, '"forget about all that business stuff, just come out to LA and make a record at our studio," recalls Ryan. The self-produced 12-track album is as fresh, cathartic and vital as anything they've ever put out. There's no weariness, no bitterness, just a clear desire to get back to doing what they do best - that unique blend of bittersweet melody, brutal lyrical honesty and riffs for days.
November 13 street date (LP) / December 11 (Cassette). Hailing from Orangeville, Ontario, Falcon Jane's second album "Faith" started coming together at the beginning of 2019 when Sara May, the artist behind the band, experienced a string of deaths in her family. Attending a seemingly endless number of traditional Catholic funerals within the space of a year caused May to dive inwards, reassessing her own notions of memory, grief, love, ceremony and identity. "Faith" is a way of excavating her truth through clear-eyed self-examination. This new faith is presented in "Heaven", a track that culminates these internal struggles with an idyllic, peaceful state. Says Sara, "that's where I'm trying to get to. The rest of the songs are doing the hard work to try to get there".
November 13 street date. Sunset gold vinyl edition, limited to 200 copies. Hailing from Orangeville, Ontario, Falcon Jane's second album "Faith" started coming together at the beginning of 2019 when Sara May, the artist behind the band, experienced a string of deaths in her family. Attending a seemingly endless number of traditional Catholic funerals within the space of a year caused May to dive inwards, reassessing her own notions of memory, grief, love, ceremony and identity. "Faith" is a way of excavating her truth through clear-eyed self-examination. This new faith is presented in "Heaven", a track that culminates these internal struggles with an idyllic, peaceful state. Says Sara, "that's where I'm trying to get to. The rest of the songs are doing the hard work to try to get there".
Please note new street date: November 13. After an 11-year hiatus, Murs and Slug are back with their fourth Felt album, "Felt 4 U". While their personal relationship is fundamental to Felt's legacy, with their comradery establishing itself as a driving force for their creativity, the production on Felt albums has also been a major part of their success. With notable changes in the sonic backdrops for each album, the MC's were allowed to share a unique side of themselves each release, while fine-tuning their styles and showcasing their own growth. A lot has changed since their last release in 2009, including for Murs and Slug themselves in both their personal and professional lives. Their careers have continued to elevate and their families have continued to grow, and this fourth album is something of a reflection of those changes, starting with the title of the project itself. Even amidst the changes we still find familiarities, like Ant making a return to handle full production on "Felt 4 U". Sonically, the album is overflowing with the influences of funk, soul, blues and even country flavors. This is a distinctly summery album, with the richness of Ant's production creating an overall warmth that envelops the whole project.
Please note new street date: November 13. The first new music from legendary band, Hum, in 22 years! Aside from a few shows and festival performances, Hum has been largely quiet since the release of 1998's "Downward Is Heavenward". Outside of "Stars" (from 1995's "You'd Prefer An Astronaut"), the band never really trafficked in the mainstream, but during their absence Hum's legacy and influence have only continued to grow. With "Inlet", the band has created another epic masterpiece that further reinforces Hum's place of honor among the shoegaze/alt-rock elite.
Please note new street date: November 13. The first new music from legendary band, Hum, in 22 years! Aside from a few shows and festival performances, Hum has been largely quiet since the release of 1998's "Downward Is Heavenward". Outside of "Stars" (from 1995's "You'd Prefer An Astronaut"), the band never really trafficked in the mainstream, but during their absence Hum's legacy and influence have only continued to grow. With "Inlet", the band has created another epic masterpiece that further reinforces Hum's place of honor among the shoegaze/alt-rock elite.
November 13 street date. Justin K. Broadrick is best known as a founding member of Godflesh, one of the first bands to combine elements of extreme metal and industrial music, but has also maintained a parallel career as a producer, producing records and remixes for groups such as Pantera, Isis, Mogwai and Pelican. Since 2005 he has also been creating slow, hazy, and deafening music under the moniker Jesu, and here he returns with 'Terminus', the first full length stand alone album from Jesu since 2013's 'Every Day I Get Closer To The Light From Which I Came'. 'Terminus' thematically was inspired by the concepts of rejection, dependency, nostalgia, and ultimate loneliness. Musically exploring the entire gamut of the Jesu oeuvre since its initial inception; dream pop, shoegaze, electronica and non aligned/non genre specific heaviness.
November 13 street date. Coloured vinyl edition. Justin K. Broadrick is best known as a founding member of Godflesh, one of the first bands to combine elements of extreme metal and industrial music, but has also maintained a parallel career as a producer, producing records and remixes for groups such as Pantera, Isis, Mogwai and Pelican. Since 2005 he has also been creating slow, hazy, and deafening music under the moniker Jesu, and here he returns with 'Terminus', the first full length stand alone album from Jesu since 2013's 'Every Day I Get Closer To The Light From Which I Came'. 'Terminus' thematically was inspired by the concepts of rejection, dependency, nostalgia, and ultimate loneliness. Musically exploring the entire gamut of the Jesu oeuvre since its initial inception; dream pop, shoegaze, electronica and non aligned/non genre specific heaviness.
November 13 street date. In the fall of 2019, Lambchop's Kurt Wagner had a unique idea: In lieu of going on what would become an economically disastrous tour, he would invite the band to Nashville to make a record as a way to provide them with similar financial support and realize something tangible in the process. Each band member was tasked with choosing one song for the band to cover, and leading the recording session to completion each day. Wagner says, "my idea was to see what might happen if I removed myself from the process as much as possible. In doing so, what surfaced would be elements that have always been there but maybe got overshadowed by my songwriting and approach". "TRIP" sounds like a culmination of the band's older work and current work. There's a looseness and freedom that recalls their older sound mixed with a group sophistication and innovation derived through the process of playing together for so long.
November 13 street date. In the fall of 2019, Lambchop's Kurt Wagner had a unique idea: In lieu of going on what would become an economically disastrous tour, he would invite the band to Nashville to make a record as a way to provide them with similar financial support and realize something tangible in the process. Each band member was tasked with choosing one song for the band to cover, and leading the recording session to completion each day. Wagner says, "my idea was to see what might happen if I removed myself from the process as much as possible. In doing so, what surfaced would be elements that have always been there but maybe got overshadowed by my songwriting and approach". "TRIP" sounds like a culmination of the band's older work and current work. There's a looseness and freedom that recalls their older sound mixed with a group sophistication and innovation derived through the process of playing together for so long.
November 13 street date. In the fall of 2019, Lambchop's Kurt Wagner had a unique idea: In lieu of going on what would become an economically disastrous tour, he would invite the band to Nashville to make a record as a way to provide them with similar financial support and realize something tangible in the process. Each band member was tasked with choosing one song for the band to cover, and leading the recording session to completion each day. Wagner says, "my idea was to see what might happen if I removed myself from the process as much as possible. In doing so, what surfaced would be elements that have always been there but maybe got overshadowed by my songwriting and approach". "TRIP" sounds like a culmination of the band's older work and current work. There's a looseness and freedom that recalls their older sound mixed with a group sophistication and innovation derived through the process of playing together for so long.
November 13 street date. Philadelphia-based indie rockers The Menzingers made great use of their free time during this summer's stay at home order by recording a "re-imagined" acoustic version of their brilliant 2019 album "Hello Exile". Since forming as teenagers in 2006, The Menzingers have shown their strength as rough-and-tumble storytellers, turning out songs equally rooted in frenetic energy and lifelike detail. On "From Exile", the band took their lyrical narrative to a whole new level and share their reflections on moments from the past and present: high-school hellraising, troubled relationships, aging and alcohol and political ennui. And while their songs often reveal certain painful truths, they ultimately maintain the irrepressible spirit that's always defined the band. These acoustic interpretations show once again how beautifully crafted these songs really are.
November 13 street date. Philadelphia-based indie rockers The Menzingers made great use of their free time during this summer's stay at home order by recording a "re-imagined" acoustic version of their brilliant 2019 album "Hello Exile". Since forming as teenagers in 2006, The Menzingers have shown their strength as rough-and-tumble storytellers, turning out songs equally rooted in frenetic energy and lifelike detail. On "From Exile", the band took their lyrical narrative to a whole new level and share their reflections on moments from the past and present: high-school hellraising, troubled relationships, aging and alcohol and political ennui. And while their songs often reveal certain painful truths, they ultimately maintain the irrepressible spirit that's always defined the band. These acoustic interpretations show once again how beautifully crafted these songs really are.
November 13 street date. Extremely limited quantities available of "Monument" on cassette. "Monument" is a fitting title for the third album by Belarusian trio Molchat Doma. Indeed, it stands as a monument to everything they've achieved in their short time as a band, from whispered-about unknowns, to enigmatic underground icons, to legitimate viral sensations with hundreds of thousands of TikTok videos using their music. "Monument" sees them return as conquering heroes, expanding on the minimalist greatness of their previous albums to fully realize a more maximalist vision of their crystalline post-punk sound. "Monument" is a conscious step up in songwriting and fidelity, and it reveals a band preternaturally comfortable in its own skin. With "Monument", Molchat Doma have done one of the hardest things to do as a band. They've greatly expanded the scope of their music while retaining everything that made them great in the first place.
November 13 street date. Extremely limited quantities available of "Monument" on cassette. "Monument" is a fitting title for the third album by Belarusian trio Molchat Doma. Indeed, it stands as a monument to everything they've achieved in their short time as a band, from whispered-about unknowns, to enigmatic underground icons, to legitimate viral sensations with hundreds of thousands of TikTok videos using their music. "Monument" sees them return as conquering heroes, expanding on the minimalist greatness of their previous albums to fully realize a more maximalist vision of their crystalline post-punk sound. "Monument" is a conscious step up in songwriting and fidelity, and it reveals a band preternaturally comfortable in its own skin. With "Monument", Molchat Doma have done one of the hardest things to do as a band. They've greatly expanded the scope of their music while retaining everything that made them great in the first place.
November 13 street date. Extremely limited blue vinyl edition (allocations are likely). "Monument" is a fitting title for the third album by Belarusian trio Molchat Doma. Indeed, it stands as a monument to everything they've achieved in their short time as a band, from whispered-about unknowns, to enigmatic underground icons, to legitimate viral sensations with hundreds of thousands of TikTok videos using their music. "Monument" sees them return as conquering heroes, expanding on the minimalist greatness of their previous albums to fully realize a more maximalist vision of their crystalline post-punk sound. "Monument" is a conscious step up in songwriting and fidelity, and it reveals a band preternaturally comfortable in its own skin. With "Monument", Molchat Doma have done one of the hardest things to do as a band. They've greatly expanded the scope of their music while retaining everything that made them great in the first place.
November 13 street date. By 1986/7 Swans had run its course with the physical assault of sound they had employed previously for the most part. Michael Gira states "I wanted to move on to other things and didn’t want to get stuck in some style, which in our case had the potential of becoming cartoonish if we’d continued in that direction. So, I pushed the music into unfamiliar territory". The band spent 6 weeks in an old isolated medieval sawmill in Cornwall, England "experimenting" and hashing things out. Gira describes the lineup with Kizys/Westberg/Jarboe/Parsons as "one of the best live versions of Swans ever" - actually much more intense and visceral in performance than in the nuanced takes of the songs on these recordings. Jarboe came more to the fore as a presence too. "Children Of God" was a major turning point for Swans, and the musical tendencies that are first engendered here were fertile ground for the remaining future records. Originally released on Product Inc. (a subsidiary of Mute) in 1987, the album has been remastered and will be available on vinyl in its original packaging for the first time since that release. Both the CD and vinyl issues will include the live album "Feel Good Now", recorded on the 1987 "Children Of God" European tour, in the CD version as an extra disc and in the vinyl version as a download card.
November 13 street date. By 1986/7 Swans had run its course with the physical assault of sound they had employed previously for the most part. Michael Gira states "I wanted to move on to other things and didn’t want to get stuck in some style, which in our case had the potential of becoming cartoonish if we’d continued in that direction. So, I pushed the music into unfamiliar territory". The band spent 6 weeks in an old isolated medieval sawmill in Cornwall, England "experimenting" and hashing things out. Gira describes the lineup with Kizys/Westberg/Jarboe/Parsons as "one of the best live versions of Swans ever" - actually much more intense and visceral in performance than in the nuanced takes of the songs on these recordings. Jarboe came more to the fore as a presence too. "Children Of God" was a major turning point for Swans, and the musical tendencies that are first engendered here were fertile ground for the remaining future records. Originally released on Product Inc. (a subsidiary of Mute) in 1987, the album has been remastered and will be available on vinyl in its original packaging for the first time since that release. Both the CD and vinyl issues will include the live album "Feel Good Now", recorded on the 1987 "Children Of God" European tour, in the CD version as an extra disc and in the vinyl version as a download card.
Please note new street date: November 30. After doing the soundtrack for the 2010 "Scott Pilgrim" video game, New York 8-bit geniuses Anamanaguchi dove headfirst into the recording of their second album. Three years (and many ideas, plans, and diversions) later, the 22-song "Endless Fantasy" finally saw the day in early 2013 on the band's own dream.hax label. All the time and effort put into the recording paid off in the end, and the album is something of an 8-bit masterpiece. The band used hacked Nintendo systems, Game Boys, and live instruments to make (mostly) instrumental music that is blindingly bright and insanely fun. Clear with rainbow splatter double vinyl edition with download card.
November 20 street date. "Déjàvu" is the debut solo album from Matthew Tavares, aka Matty. Originally released in 2018 as a digital only release, it now sees the physical release it rightly deserves. Produced by his good friend, the acclaimed producer/ songwriter Frank Dukes, "Déjàvu" emerged during a period of rest for Matthew after heavy touring schedules with his former band BADBADNOTGOOD. As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. "Déjàvu" sees a departure from the jazz of BADBADNOTGOOD and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. Even though on the surface the record could be loosely categorized in the rock/indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of Brazilian arrangers such as Arthur Verocai enrich the songs. Though a "solo" release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including BADBADNOTGOOD members.
November 20 street date. Limited transparent red vinyl edition, exclusively available to independent shops. "Déjàvu" is the debut solo album from Matthew Tavares, aka Matty. Originally released in 2018 as a digital only release, it now sees the physical release it rightly deserves. Produced by his good friend, the acclaimed producer/ songwriter Frank Dukes, "Déjàvu" emerged during a period of rest for Matthew after heavy touring schedules with his former band BADBADNOTGOOD. As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. "Déjàvu" sees a departure from the jazz of BADBADNOTGOOD and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. Even though on the surface the record could be loosely categorized in the rock/indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of Brazilian arrangers such as Arthur Verocai enrich the songs. Though a "solo" release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including BADBADNOTGOOD members.
November 20 street date. "Déjàvu" is the debut solo album from Matthew Tavares, aka Matty. Originally released in 2018 as a digital only release, it now sees the physical release it rightly deserves. Produced by his good friend, the acclaimed producer/ songwriter Frank Dukes, "Déjàvu" emerged during a period of rest for Matthew after heavy touring schedules with his former band BADBADNOTGOOD. As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. "Déjàvu" sees a departure from the jazz of BADBADNOTGOOD and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. Even though on the surface the record could be loosely categorized in the rock/indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of Brazilian arrangers such as Arthur Verocai enrich the songs. Though a "solo" release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including BADBADNOTGOOD members.
November 20 street date. FlySiifu is a new collaborative project by Pink Siifu & Fly Anakin. Their debut album, FlySiifu’s, unites two prolific rappers with infectious chemistry. The album mirrors their musical community, as they welcome guests into FlySiifu’s record store, with appearances from Liv.e, Fousheé, $ILKMONEY, and producers Madlib, Jay Versace, Ohbliv, Awhlee, Budgie, Playa Haze, Animoss and more. “Fly Siifu has all of our attention. The pair sound as soothing as a day spent sitting on the porch with your grandparents. Fly Siifu have found something special.” PITCHFORK The album’s lead singles have caught the attention of Vince Staples, Danger Mouse, KEXP, Hot97, Colors, Pitchfork, FADER, Hypebeast and i-D. Pink Siifu is a Baltimore based MC, singer and producer, originally from Alabama, whose diverse output ranges from soulful rap to punk. He’s collaborated with The Avalanches, Mndsgn, Teebs, Quelle Chris, Anna Wise & Maxo. Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as "one of the illest MCs”, and has previously collaborated with Freddie Gibbs. He’s co-founder of the Richmond rap collective Mutant Academy.
November 20 street date. FlySiifu is a new collaborative project by Pink Siifu & Fly Anakin. Their debut album, FlySiifu’s, unites two prolific rappers with infectious chemistry. The album mirrors their musical community, as they welcome guests into FlySiifu’s record store, with appearances from Liv.e, Fousheé, $ILKMONEY, and producers Madlib, Jay Versace, Ohbliv, Awhlee, Budgie, Playa Haze, Animoss and more. “Fly Siifu has all of our attention. The pair sound as soothing as a day spent sitting on the porch with your grandparents. Fly Siifu have found something special.” PITCHFORK The album’s lead singles have caught the attention of Vince Staples, Danger Mouse, KEXP, Hot97, Colors, Pitchfork, FADER, Hypebeast and i-D. Pink Siifu is a Baltimore based MC, singer and producer, originally from Alabama, whose diverse output ranges from soulful rap to punk. He’s collaborated with The Avalanches, Mndsgn, Teebs, Quelle Chris, Anna Wise & Maxo. Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as "one of the illest MCs”, and has previously collaborated with Freddie Gibbs. He’s co-founder of the Richmond rap collective Mutant Academy.
November 20 street date. FlySiifu is a new collaborative project by Pink Siifu & Fly Anakin. Their debut album, FlySiifu’s, unites two prolific rappers with infectious chemistry. The album mirrors their musical community, as they welcome guests into FlySiifu’s record store, with appearances from Liv.e, Fousheé, $ILKMONEY, and producers Madlib, Jay Versace, Ohbliv, Awhlee, Budgie, Playa Haze, Animoss and more. “Fly Siifu has all of our attention. The pair sound as soothing as a day spent sitting on the porch with your grandparents. Fly Siifu have found something special.” PITCHFORK The album’s lead singles have caught the attention of Vince Staples, Danger Mouse, KEXP, Hot97, Colors, Pitchfork, FADER, Hypebeast and i-D. Pink Siifu is a Baltimore based MC, singer and producer, originally from Alabama, whose diverse output ranges from soulful rap to punk. He’s collaborated with The Avalanches, Mndsgn, Teebs, Quelle Chris, Anna Wise & Maxo. Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as "one of the illest MCs”, and has previously collaborated with Freddie Gibbs. He’s co-founder of the Richmond rap collective Mutant Academy.
November 20 street date. The original motion picture score from "Ghost Dog: The Way Of The Samurai", produced by The RZA, is now available on official vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan.
November 20 street date. The original motion picture score from "Ghost Dog: The Way Of The Samurai", produced by The RZA, is now available on official vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan.
November 20 street date. The original motion picture score from "Ghost Dog: The Way Of The Samurai", produced by The RZA, is now available on official vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan.
November 20 street date. STRFKR's sound has morphed over the years through variations of hyper catchy, danceable pop, but on "Ambient 1" - the band's first fully instrumental album - the band has achieved something very different. For a little shy of an hour, "Ambient 1" drifts through softly glowing electronic instrumentals that extract the synth core from the group's well established synth pop sound. It's patient, playful, and calming music that travels through passageways of chaos and anxiety on a journey towards healing. Upon completing work on the lo-fi dreaminess of "Future Past Life", STRFKR's principal songwriter Josh Hodges found himself returning repeatedly to albums by his favorite ambient artists and minimal composers. This growing obsession with synthesis and the culture around it also concurred with the daily darkness of the pandemic and some personal disruptions. Without spending too much time thinking about what it meant, Hodges began recording ambient experiments almost daily as a way of processing these difficult emotions. Even at his most drony and experimental, Hodges can't escape his distinctive melodic approach. "Ambient 1" strips away the familiar and the expected, exposing Hodges' signature sonic personality at a granular level.
November 20 street date. STRFKR's sound has morphed over the years through variations of hyper catchy, danceable pop, but on "Ambient 1" - the band's first fully instrumental album - the band has achieved something very different. For a little shy of an hour, "Ambient 1" drifts through softly glowing electronic instrumentals that extract the synth core from the group's well established synth pop sound. It's patient, playful, and calming music that travels through passageways of chaos and anxiety on a journey towards healing. Upon completing work on the lo-fi dreaminess of "Future Past Life", STRFKR's principal songwriter Josh Hodges found himself returning repeatedly to albums by his favorite ambient artists and minimal composers. This growing obsession with synthesis and the culture around it also concurred with the daily darkness of the pandemic and some personal disruptions. Without spending too much time thinking about what it meant, Hodges began recording ambient experiments almost daily as a way of processing these difficult emotions. Even at his most drony and experimental, Hodges can't escape his distinctive melodic approach. "Ambient 1" strips away the familiar and the expected, exposing Hodges' signature sonic personality at a granular level.
November 20 street date. The latest release in the much loved Mr Bongo Record Club series! For Volume 4 in this series, Mr Bongo continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres, with tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. These tracks complement, enrich, and fit perfectly with the flow and journey of the compilation.
November 20 street date. Pink vinyl edition, exclusively available to independent shops. The latest release in the much loved Mr Bongo Record Club series! For Volume 4 in this series, Mr Bongo continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres, with tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. These tracks complement, enrich, and fit perfectly with the flow and journey of the compilation.
November 20 street date. The latest release in the much loved Mr Bongo Record Club series! For Volume 4 in this series, Mr Bongo continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres, with tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. These tracks complement, enrich, and fit perfectly with the flow and journey of the compilation.
November 20 street date. The War On Drugs will release "LIVE DRUGS", their first new album since 2017's GRAMMY-winning "A Deeper Understanding", via Super High Quality Records, bandleader Adam Granduciel's own record label. "LIVE DRUGS" is a collection culled from over 40 hard drives of recorded live shows spread out across years of touring behind multiple albums. It's the first volume to capture the band's live interpretations and a document showcasing the evolution of the band's live show over the years. It's also a portrait of the enduring relationship between Granduciel and the album's co-producer Dominic East, a longtime friend, guitar tech and stage manager. "LIVE DRUGS" is sequenced to reflect how a typical 70-minute show would flow. It thrives on live set staples immortalized on record for the first time and illustrates how years of live performance nurtures an evolution of the songs. Even though this recording is from a year of tours, this is really how these six guys evolved as a band from 2014 to 2019.
November 20 street date. The War On Drugs will release "LIVE DRUGS", their first new album since 2017's GRAMMY-winning "A Deeper Understanding", via Super High Quality Records, bandleader Adam Granduciel's own record label. "LIVE DRUGS" is a collection culled from over 40 hard drives of recorded live shows spread out across years of touring behind multiple albums. It's the first volume to capture the band's live interpretations and a document showcasing the evolution of the band's live show over the years. It's also a portrait of the enduring relationship between Granduciel and the album's co-producer Dominic East, a longtime friend, guitar tech and stage manager. "LIVE DRUGS" is sequenced to reflect how a typical 70-minute show would flow. It thrives on live set staples immortalized on record for the first time and illustrates how years of live performance nurtures an evolution of the songs. Even though this recording is from a year of tours, this is really how these six guys evolved as a band from 2014 to 2019.
November 20 street date. Limited translucent purple vinyl edition. The War On Drugs will release "LIVE DRUGS", their first new album since 2017's GRAMMY-winning "A Deeper Understanding", via Super High Quality Records, bandleader Adam Granduciel's own record label. "LIVE DRUGS" is a collection culled from over 40 hard drives of recorded live shows spread out across years of touring behind multiple albums. It's the first volume to capture the band's live interpretations and a document showcasing the evolution of the band's live show over the years. It's also a portrait of the enduring relationship between Granduciel and the album's co-producer Dominic East, a longtime friend, guitar tech and stage manager. "LIVE DRUGS" is sequenced to reflect how a typical 70-minute show would flow. It thrives on live set staples immortalized on record for the first time and illustrates how years of live performance nurtures an evolution of the songs. Even though this recording is from a year of tours, this is really how these six guys evolved as a band from 2014 to 2019.
November 27 street date. Live at Bubba’s is a previously-unissued recording of the Jamaican jazz piano icon Monty Alexander captured live in Fort Lauderdale, Florida at Bubba’s Jazz Restaurant on August 6, 1982. Recorded by legendary engineer Mack Emerman, who founded Criteria Recording Studios (Aretha Franklin, James Brown, Eric Clapton), Live at Bubba’s features bassist Paul Berner (Lionel Hampton Orchestra), drummer Duffy Jackson (Milt Jackson, Benny Carter) and the acclaimed percussionist Robert Thomas, Jr. (Weather Report, Jaco Pastorius, Carlos Santana). The deluxe limited-edition 2LP will include an extensive booklet with photos by Jan Persson, Raymond Ross and Brian McMillen; essays by veteran jazz writer Willard Jenkins, pianist Benny Green, and producer George Klabin; plus interviews with NEA Jazz Master Kenny Barron and others. The vinyl edition is mastered by Bernie Grundman and pressed at 33 1/3 RPM by RTI.
November 27 street date. To celebrate a most monumental turn around the California sun, Mexican Summer offers a special 10th anniversary Record Store Day edition of Best Coast's "Crazy For You" on summer sky wave coloured vinyl. Available in a limited edition of 1000 copies, this is a perfect opportunity to relive the magic of Bethany Cosentino and Bobb Bruno's debut album of blissed out west coast pop, or experience it for the first time.
November 27 street date. Jarvis Cocker is releasing two special vinyl editions of 2006 self-titled debut "Jarvis" and second album "Further Complications" as part of RSD Black Friday 2020 on November 27. Both reissues come with a bonus release featuring a special reprint of two of his greatest singles. The reissue project has been personally overseen by Jarvis including the remastering of "Further Complications". In addition to the full albums appearing on vinyl, the RSD releases will be accompanied by limited edition bonus pressings. 2009's "Further Complications" is joined by a black etched 12" featuring "You're In My Eyes (Discosong)", while the album itself comes on white vinyl. Both albums have been out of print for several years and these coloured vinyl new editions are limited to 150 copies in Canada.
November 27 street date. Jarvis Cocker is releasing two special vinyl editions of 2006 self-titled debut "Jarvis" and second album "Further Complications" as part of RSD Black Friday 2020 on November 27. Both reissues come with a bonus release featuring a special reprint of two of his greatest singles. The reissue project has been personally overseen by Jarvis, including the remastering of "Further Complications". In addition to the full albums appearing on vinyl, the RSD releases will be accompanied by limited edition bonus pressings. "Jarvis", which is pressed on split coloured green vinyl, comes with a 7" single featuring his rabble-rousing classic single "Running The World", which was the subject of a UK, fan-campaign to get it into the Christmas charts last year in the aftermath of the general election. Both albums have been out of print for several years and these coloured vinyl new editions are limited to 150 copies in Canada.
November 27 street date. Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990s in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: "Music To Play In The Dark". Although the album's creative process was admittedly "iterative" and "a bit of a drug blur", the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse. What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels.
November 27 street date. Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990s in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: "Music To Play In The Dark". Although the album's creative process was admittedly "iterative" and "a bit of a drug blur", the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse. What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels.
November 27 street date. Extremely limited clear blue vinyl edition (allocations are likely). Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990s in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: "Music To Play In The Dark". Although the album's creative process was admittedly "iterative" and "a bit of a drug blur", the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse. What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels.
November 27 street date. Sudden Death and D.O.A. have gone back in time and restored one of punk's seminal albums, "Something Better Change", and reissued it on vinyl for its 40th anniversary. One also gets the original lyric sheet insert and the original foldout insert with pics of Joey Shithead, Chuck Biscuits, Randy Rampage and Dave Gregg. "The product of two years of solid gigging in their native Vancouver, by the hottest punk rock band the West Coast ever produced this side of the much different Weirdos and Avengers, "Something Better Change" features a trio so molten, they didn't even manage to get it all down in the studio. And yet it still is an absolutely awesome record. So heavy with chops it nearly leaks, soaring like the best Clash/Pistols/S.L.F. riffs filtered through an American anvil power even those greats couldn't approach." - Jack Rabid.
November 27 street date. Live at Ronnie Scott’s is the third official Resonance release of previously-unissued recordings of the Bill Evans trio with Eddie Gomez and Jack DeJohnette, and the fifth release with the Evans Estate. The recordings come from the personal archives of drummer Jack DeJohnette, who has had them in storage for over 50 years, and the nearly 2 hours of music has been remastered from the original tape reels. Live at Ronnie Scott’s was captured in July of 1968, just after their legendary performance at the Montreux Jazz Festival and Resonance’s long-lost studio session Some Other Time from the Black Forest. Gracing the cover on the deluxe 2CD and limited-edition 2LP sets is a never-before-published, one-of-a-kind lithograph drawing by the legendary artist and illustrator David Stone Martin. Includes an extensive booklet with rare photos from Chuck Stewart, Jan Persson and others; essays by acclaimed British author Brian Priestly and producer Zev Feldman; a conversation with Chick Corea and Jack DeJohnette; an interview with Eddie Gomez and more! The vinyl edition was mastered by Bernie Grundman, cut at 33 1/3 RPM and pressed by RTI.
Please note new street date: November 27. Double 180 gram audiophile vinyl edition of this hot and nifty item! If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears) in 1976, you also took home "Plantasia", an album recorded especially for plants. Subtitled "warm earth music for plants and the people that love them," it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum.
November 27 street date. In 1970, nine years after leaving the United States to study music in Canada, Beverly Glenn-Copeland released two self-titled albums. Both were a stunning showcase of classical and jazz accummen, layered with poetry and accompanied by some of the best players of the time. Original pressings now fetch thousands of dollars. "Live At Le Guess Who?" was recorded in 2018 at the festival in Utrecht and contains a multitude of extraordinary performances. After a decades-long hiatus from performing live, you can hear the joy of an artist realizing how much his music has connected with a new generation.
November 27 street date. This 1977 studio recording finds Herbie Hancock embracing his jazz roots. The straight forward trio setting puts Hancock's piano front and center. Backed by Ron Carter on bass and Tony Williams behind the drums, the recording features Hancock originals as well as the Trio's take on Miles Davis' "Milestones". Though recorded at fabled San Francisco studio The Automatt, the recording was only immediately issued in Japan. To this day, Japan is the only country to see a vinyl release of the session. That changes on Black Friday as Get On Down presents "The Herbie Hancock Trio".
November 27 street date. The Jahari Massamba Unit features Madlib on all instrumentation with the exception of drums, which are laid down by Karriem Riggins. Like Madlib, Riggins is well-versed in both the Jazz and Hip Hop worlds. Musically, Madlib's label says: "we would call the project Spiritual Jazz, but jazz great Phil Ranelin told us to call it Black Classical Music, so that's what we're going with". This is an album put together by students of jazz in its myriad and historic forms who are also proponents of jazz's future. The resulting recording reflects a lifetime of record collecting, musical study, woodshedding, and a reverential respect for one another’s craft. Regardless of categorization, this is an exciting and all-new entry in Madlib's Yesterday's New Quintet canon of difficult to categorize music.
November 27 street date. Rollins in Holland: The 1967 Studio & Live Recordings is Resonance Records' first archival release from the Saxophone Colossus himself, Sonny Rollins. Released in partnership with the Nederlands Jazz Archief, this deluxe 2CD and limited-edition 180g 3LP set is officially sanctioned by Rollins and is comprised of 3 different previously-unissued performances with bassist Ruud Jacobs and drummer Han Bennink in May of 1967 at Vara Studio in Hilversum, the Arnhem Academy of Visual Arts in Arnhem, and a televised performance at the Go-Go Club in Loosdrecht. Rollins in Holland will include an extensive booklet with never-before-published photos from each venue; essays by Aidan Levy (currently writing a biography of Sonny Rollins for Da Capo Press) and Dutch jazz journalist/producer Frank Jochemsen; plus interviews with Sonny Rollins, Han Bennink, a remembrance of Ruud Jacobs, and more.
December 4 street date. Similar to their now-legendary "Lucy Ford" release, Atmosphere had originally conceived "To All My Friends, Blood Makes The Blade Holy" as two separate EP's. Much like "Lucy Ford", the desire to simplify the concept for the sake of tour merchandising and retail distribution led them to join the two EP's together, packaged onto one CD. However, unlike "Lucy Ford", neither of these individual EP's were ever made available for purchase on vinyl - though the most attuned fan would point out there was a very limited pressing of the "To All My Friends" EP tucked inside the first deluxe print edition of photographer Dan Monick's photo essay book, "7 Years With Atmosphere", but that vinyl was never sold separately, much less granted packaging or artwork. Now, in celebration of its 10th anniversary, here is "To All My Friends, Blood Makes The Blade Holy" on 2xLP vinyl for the first time ever, with all new artwork and packaging designed and illustrated by Dave Quiggle!
December 4 street date. Much like its predecessor, "In Decay", the 2014 compilation of unreleased, early Com Truise recordings, "In Decay, Too" unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with "In Decay, Too", his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. 2xLP packaged in matte jacket with black dust sleeves.
December 4 street date. Big Crown are always sitting on a handful of unreleased songs that didn't make their way to albums. Listening back to these gems, they decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & The Expressions. These tunes were cut during the "Special Night" and "It Rains Love" sessions. This stands as a testament to The Expressions' musical prowess.
December 4 street date. Big Crown are always sitting on a handful of unreleased songs that didn't make their way to albums. Listening back to these gems, they decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & The Expressions. These tunes were cut during the "Special Night" and "It Rains Love" sessions. This stands as a testament to The Expressions' musical prowess.
December 4 street date. Limited coloured vinyl edition. Big Crown are always sitting on a handful of unreleased songs that didn't make their way to albums. Listening back to these gems, they decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & The Expressions. These tunes were cut during the "Special Night" and "It Rains Love" sessions. This stands as a testament to The Expressions' musical prowess.
November 27 street date. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene, this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace", this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general!
November 27 street date. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene, this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace", this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general!
November 27 street date. Indie exclusive edition on Norway spruce green vinyl, limited to 2250 copies. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene, this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace", this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general!
December 6 street date. Sofiane Pamart is a uniquely flavored French artist. Classically trained, he plays the piano with true perfection, but the genre-crossing artist has collaborated with many well-known French rappers. His debut "Planet" was released in 2019 and has since accumulated 7.7M streams worldwide. He plays with a strong aggressive nature that is driven from his rebellious temperament. He is devoted to the composition of his own work rather than direct interpretation of classical repertoire. Renowned for his detail-defined imagery, he regularly collaborates with designers of prestige such as Sézane, Etudes Studio and Walk in Paris. He fuses the elegance of high-end fashion with and embellished street style."Planet Gold" is a deluxe repackage of "Planet", including 6 new bonus tracks.
Please note new street date: December 4. Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other's output, "May Our Chambers Be Full" is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. While Emma Ruth Rundle’s standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early 90s Seattle sound and later 90s episodes of Alternative Nation, while still retaining much of the artists' core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement.
Please note new street date: December 4. Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other's output, "May Our Chambers Be Full" is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. While Emma Ruth Rundle’s standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early 90s Seattle sound and later 90s episodes of Alternative Nation, while still retaining much of the artists' core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement.
Please note new street date: December 4. Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other's output, "May Our Chambers Be Full" is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. While Emma Ruth Rundle’s standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early 90s Seattle sound and later 90s episodes of Alternative Nation, while still retaining much of the artists' core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement.
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.
November 13 street date (LP and CD) / December 11 (Cassette). Hailing from Orangeville, Ontario, Falcon Jane's second album "Faith" started coming together at the beginning of 2019 when Sara May, the artist behind the band, experienced a string of deaths in her family. Attending a seemingly endless number of traditional Catholic funerals within the space of a year caused May to dive inwards, reassessing her own notions of memory, grief, love, ceremony and identity. "Faith" is a way of excavating her truth through clear-eyed self-examination. This new faith is presented in "Heaven", a track that culminates these internal struggles with an idyllic, peaceful state. Says Sara, "that's where I'm trying to get to. The rest of the songs are doing the hard work to try to get there".
December 11 street date. Beggars Arkive are happy to announce a 30th anniversary vinyl reissue of Fields Of The Nephilim's third highly acclaimed album "Elizium", released by Beggars Banquet in 1990. Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road. It’s pressed on dark green 180g vinyl. Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. Carl McCoy has even been called the "uncle" of black metal. "Elizium" is one of their most beautiful albums and considered by many to be their best.
Please note new street date: December 11. Originally released in 2010, Four Tet's most celebrated album "There Is Love In You" is reissued on vinyl as a deluxe, limited edition 3xLP set that includes remixes by Caribou, Jon Hopkins, Floating Points, Joy Orbison, and Roska. This special expanded edition has been remastered for vinyl by Matt Colton at Metropolis Mastering.
December 11 street date. "Styles We Paid For" is Guided By Voices' third album of 2020 and it stands as a testament to this "year in isolation", reflecting these dark days through Robert Pollard's prism, with the band sounding as confident and authoritative as ever. Pollard's searing vocals hold center stage, with endless melodic invention and impeccable phrasing. The album is notably heavy in its worldliness, lyrical content, texture, and approach - and rides out like a cinematic journey of the bizarro world one finds oneself in. While other bands have been napping, GBV have achieved their second consecutive hat-trick (three albums per annum), and have further cemented their status as rock legends for achieving more in this bleak year then most bands do across their entire careers.
December 11 street date. "Styles We Paid For" is Guided By Voices' third album of 2020 and it stands as a testament to this "year in isolation", reflecting these dark days through Robert Pollard's prism, with the band sounding as confident and authoritative as ever. Pollard's searing vocals hold center stage, with endless melodic invention and impeccable phrasing. The album is notably heavy in its worldliness, lyrical content, texture, and approach - and rides out like a cinematic journey of the bizarro world one finds oneself in. While other bands have been napping, GBV have achieved their second consecutive hat-trick (three albums per annum), and have further cemented their status as rock legends for achieving more in this bleak year then most bands do across their entire careers.
December 11 street date. Interpol's 2007 classic, ‘Our Love To Admire’, available for the first time through Matador on sky blue vinyl. The songs ripple with [New York City's] energy", NME said of the album, "enveloping atmospherics seep into the senses giving the every day a film noir quality".
December 11 street date. Hot on the heels of ‘Mordechai’, the third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series. With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin's deep love of global grooves - from Asian pop to Nigerian reggae - Japanese mellow groove to Latina flavas - are steeped in eclecticism; Nazia Hassan's Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for ??????? and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas. Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang's ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie's ‘Gnossienne’.
December 11 street date. Hot on the heels of ‘Mordechai’, the third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series. With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin's deep love of global grooves - from Asian pop to Nigerian reggae - Japanese mellow groove to Latina flavas - are steeped in eclecticism; Nazia Hassan's Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for ??????? and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas. Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang's ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie's ‘Gnossienne’.
December 11 street date. Limited orange vinyl edition. Hot on the heels of ‘Mordechai’, the third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series. With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin's deep love of global grooves - from Asian pop to Nigerian reggae - Japanese mellow groove to Latina flavas - are steeped in eclecticism; Nazia Hassan's Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for ??????? and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas. Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang's ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie's ‘Gnossienne’.
December 11 street date. "In the swirling and undulant warm mud of jettisoned reels of magnetic tape, blurps up the fog of reinvention. Every night I would parley with my pilots and run and rerun the recordings. Right up until the moment sleep slips its veil over eyes and ears and you drift back without a sound. "Protean Threat" dream haze becomes "Panther Rotate" in the other dimension. A companion LP of remixes, field recordings, and sonic experiments using all sounds generated by the him and crackle of the desert farm. A second version of our "Protean Threat if you will", but barely conspicuous in its relation. Two lives connected by a cosmic thread, One for your feet and one for your head" - John Dwyer.
December 11 street date. "In the swirling and undulant warm mud of jettisoned reels of magnetic tape, blurps up the fog of reinvention. Every night I would parley with my pilots and run and rerun the recordings. Right up until the moment sleep slips its veil over eyes and ears and you drift back without a sound. "Protean Threat" dream haze becomes "Panther Rotate" in the other dimension. A companion LP of remixes, field recordings, and sonic experiments using all sounds generated by the him and crackle of the desert farm. A second version of our "Protean Threat if you will", but barely conspicuous in its relation. Two lives connected by a cosmic thread, One for your feet and one for your head" - John Dwyer.
December 11 street date. Vinyl was originally solicited as an RSD release but was withdrawn and all orders have been cancelled. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. "PeteStrumentals" 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.
December 11 street date. Vinyl was originally solicited as an RSD release but was withdrawn and all orders have been cancelled. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. "PeteStrumentals" 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.
December 11 street date. "I first heard "Lady In Satin" in a mega-shopping mall somewhere in San Francisco. I was about 20 years old and didn’t know much about Billie's records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar - some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life. Ten years later in 2006 I recorded an electric guitar instrumental version of "I'm A Fool To Want You" for my album "Post-War". In 2018 I performed a concert in LA. of all the songs from "Lady In Satin" as a quintet and began preparing guitar arrangements for the recordings compiled on this record. The conceit of "Think of Spring" is to filter the songs and strings from "Lady In Satin" through a single acoustic guitar using various alternate tunings and a minimal amount of textures and studio manipulation. most of the songs were recorded on an analog Tascam four track. "Think of Spring" is inspired by Billie Holiday, Ray Ellis, J.J. Johnson, John Fahey and Robert Johnson. Proceeds from this record will benefit Inner-City Arts & Donors Choose via PLUS1 for Black Lives Fund". - M. Ward.
December 11 street date. "I first heard "Lady In Satin" in a mega-shopping mall somewhere in San Francisco. I was about 20 years old and didn’t know much about Billie's records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar - some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life. Ten years later in 2006 I recorded an electric guitar instrumental version of "I'm A Fool To Want You" for my album "Post-War". In 2018 I performed a concert in LA. of all the songs from "Lady In Satin" as a quintet and began preparing guitar arrangements for the recordings compiled on this record. The conceit of "Think of Spring" is to filter the songs and strings from "Lady In Satin" through a single acoustic guitar using various alternate tunings and a minimal amount of textures and studio manipulation. most of the songs were recorded on an analog Tascam four track. "Think of Spring" is inspired by Billie Holiday, Ray Ellis, J.J. Johnson, John Fahey and Robert Johnson. Proceeds from this record will benefit Inner-City Arts & Donors Choose via PLUS1 for Black Lives Fund". - M. Ward.
December 11 street date. Kamasi Washington composed and produced the original score for "Becoming", the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, "Becoming" documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop.
December 11 street date. Kamasi Washington composed and produced the original score for "Becoming", the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, "Becoming" documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop.
December 18 street date. Funkadelic's first album, eponymously released in 1970, gets the HIQLP treatment to celebrate its 50th anniversary. Packaged in a thick card sleeve. 180g orange vinyl pressing.
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December 18 street date. Funkadelic's second album, originally released in 1970, gets the HIQLP treatment to celebrate its 50th anniversary. Packaged in a thick card sleeve. 180g blue vinyl pressing.
January 8 street date. Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On "Introducing", his debut solo album produced by The Black Keys' Dan Auerbach, Aaron melds mid-60s soul with Auerbach's particular sensibilities ('Over You'), songs with a message in the key of Gil Scott-Heron ('Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop ('Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and co-lead singer of Durand Jones & The Indications, but he's more than a revivalist act. On "Introducing", Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. "Introducing" is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.
January 8 street date. Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On "Introducing", his debut solo album produced by The Black Keys' Dan Auerbach, Aaron melds mid-60s soul with Auerbach's particular sensibilities ('Over You'), songs with a message in the key of Gil Scott-Heron ('Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop ('Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and co-lead singer of Durand Jones & The Indications, but he's more than a revivalist act. On "Introducing", Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. "Introducing" is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.
January 8 street date. Limited translucent pink glass vinyl edition. Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On "Introducing", his debut solo album produced by The Black Keys' Dan Auerbach, Aaron melds mid-60s soul with Auerbach's particular sensibilities ('Over You'), songs with a message in the key of Gil Scott-Heron ('Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop ('Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and co-lead singer of Durand Jones & The Indications, but he's more than a revivalist act. On "Introducing", Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. "Introducing" is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.
January 15 street date. Poised to blow the cobwebs off life and unleash some much-needed wit and charm upon us, Sleaford Mods announce the release of their astonishing 6th studio album, entitled ‘Spare Ribs’. The polemical Jason Williamson and dexterous producer Andrew Fearn kick against the pricks with unrivalled bite, railing against hypocrisy, inequality and apathy with their inimitable, scabrous sense of humour. And ‘Spare Ribs’, featuring Amy Taylor of Melbourne punks Amyl and the Sniffers and the British newcomer Billy Nomates, finds the duo charged with ire at the UK Government's sense of entitlement, epitomized by its devil-may-care approach to the coronavirus crisis. ‘Spare Ribs’ is the sound of a band so sure of their own sonic terrain that they can now explore its outer regions. The album's title, Jason says, emerged from "the idea of the amount of people that died from the first wave of coronavirus; human lives are always expendable to the elites. We're in a constant state of being spare ribs". Yet Sleaford Mods are an essential part of Britain's musical anatomy.
January 15 street date. Poised to blow the cobwebs off life and unleash some much-needed wit and charm upon us, Sleaford Mods announce the release of their astonishing 6th studio album, entitled ‘Spare Ribs’. The polemical Jason Williamson and dexterous producer Andrew Fearn kick against the pricks with unrivalled bite, railing against hypocrisy, inequality and apathy with their inimitable, scabrous sense of humour. And ‘Spare Ribs’, featuring Amy Taylor of Melbourne punks Amyl and the Sniffers and the British newcomer Billy Nomates, finds the duo charged with ire at the UK Government's sense of entitlement, epitomized by its devil-may-care approach to the coronavirus crisis. ‘Spare Ribs’ is the sound of a band so sure of their own sonic terrain that they can now explore its outer regions. The album's title, Jason says, emerged from "the idea of the amount of people that died from the first wave of coronavirus; human lives are always expendable to the elites. We're in a constant state of being spare ribs". Yet Sleaford Mods are an essential part of Britain's musical anatomy.
January 15 street date. Kurt Vile's "Speed, Sound, Lonely KV (ep)" was recorded and mixed in sporadic sessions that spanned four years at The Butcher Shoppe studio in Nashville, TN. It includes five songs - covers of John Prine and "Cowboy" Jack Clement as well as two originals - and was recorded alongside a cast of local heavies like Bobby Wood, Dave Roe, Kenny Malone and Matt Sweeney (Chavez, Superwolf). Most importantly, it features what KV has called "probably the single most special musical moment in my life" - a duet with the late John Prine on the songwriter's well-loved tune, "How Lucky".
January 15 street date. Kurt Vile's "Speed, Sound, Lonely KV (ep)" was recorded and mixed in sporadic sessions that spanned four years at The Butcher Shoppe studio in Nashville, TN. It includes five songs - covers of John Prine and "Cowboy" Jack Clement as well as two originals - and was recorded alongside a cast of local heavies like Bobby Wood, Dave Roe, Kenny Malone and Matt Sweeney (Chavez, Superwolf). Most importantly, it features what KV has called "probably the single most special musical moment in my life" - a duet with the late John Prine on the songwriter's well-loved tune, "How Lucky".
Please note new street date: January 8/21. 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.
Please note new street date: January 8/20. Pearlescent bronze vinyl edition, limited to 1000 copies. 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.
January 29 street date. What are we to make of the world? In many ways, the title "New Fragility" perfectly sums up our collective state of unease and anxiety, but it's particularly apt for singer songwriter Alec Ounsworth aka Clap Your Hands Say Yeah and the trauma he's spent the best part of three years processing. Yet it also showcases what Ounsworth has become so masterful at - couching a certain level of seriousness in something fun. Something danceable. It's what's powered some of Clap Your Hands Say Yeah's most memorable moments, and what makes "New Fragility" such an accomplished, affecting record. Powerful too, taking aim at what Ounsworth calls "the failed democratic experiment that is the United States of America" and the supine hypocrisy of those currently in government. Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision.
January 29 street date. Milky clear translucent vinyl edition, limited to 1000 copies. What are we to make of the world? In many ways, the title "New Fragility" perfectly sums up our collective state of unease and anxiety, but it's particularly apt for singer songwriter Alec Ounsworth aka Clap Your Hands Say Yeah and the trauma he's spent the best part of three years processing. Yet it also showcases what Ounsworth has become so masterful at - couching a certain level of seriousness in something fun. Something danceable. It's what's powered some of Clap Your Hands Say Yeah's most memorable moments, and what makes "New Fragility" such an accomplished, affecting record. Powerful too, taking aim at what Ounsworth calls "the failed democratic experiment that is the United States of America" and the supine hypocrisy of those currently in government. Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision.
January 29 street date. Goat Girl are delighted to announce their new album "On All Fours", released via Rough Trade Records on January 29th. The new album was produced by Dan Carey (Kate Tempest, Black Midi and Franz Ferdinand). The album will be available on black double LP, transparent pink double LP, and CD. This new record sees the band veer away from the confrontational lyricism of their debut and& indicates Goat Girl's maturing perspectives in discussing the world's injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.
January 29 street date. Goat Girl are delighted to announce their new album "On All Fours", released via Rough Trade Records on January 29th. The new album was produced by Dan Carey (Kate Tempest, Black Midi and Franz Ferdinand). The album will be available on black double LP, transparent pink double LP, and CD. This new record sees the band veer away from the confrontational lyricism of their debut and& indicates Goat Girl's maturing perspectives in discussing the world's injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.
January 29 street date. Goat Girl are delighted to announce their new album "On All Fours", released via Rough Trade Records on January 29th. The new album was produced by Dan Carey (Kate Tempest, Black Midi and Franz Ferdinand). The album will be available on black double LP, transparent pink double LP, and CD. This new record sees the band veer away from the confrontational lyricism of their debut and& indicates Goat Girl's maturing perspectives in discussing the world's injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.
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.
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 new street date: June 12. From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staple Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren's singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His ever-evolving 24-Carat Black project spanned the 1970s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren's 1980s demos cut with grown 'n' sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. "III" is an unfinished symphony that peels away the final layer of Dale Warren's mysterious oeuvre.
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.
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.
July 17 street date. Produced and recorded by Arca, "KiCk I" defines a new era of multiplex harmony for the Venezuelan artist, singer, DJ, performer and experimental music composer. With appearances from Björk, Rosalía, Shygirl and SOPHIE, this is the first time Arca has invited collaborators into her world, previously having lent her sound to some of the decades most avant-pop artists. "KiCk I" is a celebration not only of the joy Arca's been able to find in her life, but the sometimes arduous journey it took for her to find it. Her struggles to reconcile her Venezuelan heritage and her trans Latinx identity emerge as reggaetón and pop en Español. But "KiCk I" isn't just a pop record, or an experimental record, or even simply a mix between the two, but rather all of them at once- and so much more. Depending on where you drop the needle you'll find bubblegum, harsh noise, electronic psychedelia, balladry, bangers, laughter, tears, passion, and expressions of faith - sounds and ideas that don't simply blend together, but coexist simultaneously in quantum superposition made possible inside the sonic worlds Arca builds in her music.
Please note new street date: May 29. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
Please note new street date: May 29. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
Please note new street date: May 29. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
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.
June 26 street date. First pressing in almost 40 years! Albert Ayler's 1969 album "New Grass" has been misunderstood from the day of its release. The album finds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that "New Grass" is nothing like his albums before - that it is of "a different dimension of his life" -in the album opener "Message from Albert". "New Grass" deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the 1960s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own.
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.
October 9 street date. Julien Baker's Matador debut available on cloud-in-clear vinyl for the first time, limited to an edition of 1000 worldwide (only 50 available for Canada). "Turn Out the Lights" was recorded at the legendary Ardent Studios in Julian's hometown of Memphis, and mixed by Craig Silvey (The National, Arcade Fire). The album was Included on Best of 2017 lists from The New York Times, Pitchfork, Exclaim, NPR, Stereogum, Billboard and many more. This evolution from ‘Sprained Ankle’'s intentionally spare production allows Baker - who is still the album's sole producer and writer - greater scope and freedom. Strings and woodwinds now shade the corners of her compositions, and Baker takes to piano rather than guitar on several tracks, pushing the 21-year-old Baker’s work to cinematic heights of intensity.
February 14 street date. One thing you won't be able to avoid on Bambara's "Stray" is death. It's everywhere and inescapable, abstract and personified - perhaps the key to the whole record. Death, however, won't be the first thing that strikes you about the group's fourth - and greatest - album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling, and at times simply overwhelming. Bambara (twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire) have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut 'Dreamviolence'. While the music itself on "Stray" is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. Here Bambara sound like they've locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
February 14 street date. One thing you won't be able to avoid on Bambara's "Stray" is death. It's everywhere and inescapable, abstract and personified - perhaps the key to the whole record. Death, however, won't be the first thing that strikes you about the group's fourth - and greatest - album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling, and at times simply overwhelming. Bambara (twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire) have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut 'Dreamviolence'. While the music itself on "Stray" is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. Here Bambara sound like they've locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
February 14 street date. Limited clear vinyl edition. One thing you won't be able to avoid on Bambara's "Stray" is death. It's everywhere and inescapable, abstract and personified - perhaps the key to the whole record. Death, however, won't be the first thing that strikes you about the group's fourth - and greatest - album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling, and at times simply overwhelming. Bambara (twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire) have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut 'Dreamviolence'. While the music itself on "Stray" is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. Here Bambara sound like they've locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
July 31 street date. Vinyl reissue of Lou Barlow's 2005 solo album "EMOH", previously only briefly available on vinyl in the UK upon release. "Emoh is primarily an acoustic LP with live performances at its core, and that was a personal achievement for me. I'm still very pleased with it. Though my follow-up, Goodnight Unknown, went back inward and is, lyrically, more evasive, with Emoh I realigned myself with my craft. I had embraced songwriting in a high-profile way and made myself solely responsible for the results. The fact that it coincided with becoming a father for the first time makes it a time marker and game changer that has been invaluable to me, serving to keep me focused and on track personally and creatively ever since" - Lou Barlow.
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
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
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.
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).
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. 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!
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.
July 17 street date. London-based band black midi follow their debut album, "Schlagenheim" ("the most intense and invigorating debut of 2019" - MOJO), with a new 12" featuring "Sweater" and "7-eleven". Both tracks were recorded with Speedy Wunderground's Dan Carey during the same period that resulted in "Schlagenheim", and "Sweater" was the last of the tracks recorded during those sessions. Available for the first time on 12".
Please note new street date: June 26. In 2011, Benjamin John Power (Fuck Buttons) released his first solo album as Blanck Mass on Rock Action Records. The vinyl went out of print shortly thereafter and has been largely unavailable ever since. Now, nine years later, Sacred Bones Records is honoured to put it back in print. The album, a collection of tracks loosely themed around cerebral hypoxia and the beautiful complexity of the natural world, features ten songs which were written, recorded and self-produced at home in London between Summer and Winter 2010. An interstellar journey that defies classification, revealing itself further and further with each listen; offering more with each visit. Its paradoxically claustrophobic-but-liberating warmth is brought about through a heavy, shimmering, orchestral, electric guitar prominence on the record, alongside manipulated field recordings, warm analogue synth, heavy sub and deep drone, a palette of sounds as wide and emotional as the world Blanck Mass sees before him.
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!
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 27 street date. Limited translucent red vinyl edition. 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.
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.
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.
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.
June 19 street date. The arrival of "Punisher" cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. She doesn't write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. "Punisher", her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others. On "Punisher", Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys).
June 19 street date. The arrival of "Punisher" cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. She doesn't write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. "Punisher", her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others. On "Punisher", Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys).
August 21 street date. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
August 21 street date. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
August 21 street date. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
August 21 street date. Limited transparent red/transparent orange vinyl edition. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
February 28 street date. Third Man had the pleasure of hosting the inimitable Broken Social Scene, carefully absorbing and recording their magnetic and unforgettable live set on the Blue Room stage. Epic, panoramic, and intimate all at the same time, the legendary Toronto collective Broken Social Scene began as an ebbing and flowing collective of artists in the late 90s, collaborating to create a distinct strand of indie rock that is both perplexingly maximal and straight-up catchy. Their live set was captured, mixed and mastered in real time via the world’s only live venue and direct-to-acetate lathe cutting studio and is Broken Social Scene’s first commercially available live album.
March 20 street date. Brownout's legendary status as a "Funk Powerhouse" (Stereogum) is a reputation well deserved. The band of musicians have an impressive resumé performing with Prince, GZA of the Wu-Tang Clan, Bernie Worrell, and accolades from Ozzy Osbourne for their "Brownout Presents: Brown Sabbath" project. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled "Berlin Sessions" was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful "Brown Sabbath" records. "Berlin Sessions" finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters.
March 20 street date. Brownout's legendary status as a "Funk Powerhouse" (Stereogum) is a reputation well deserved. The band of musicians have an impressive resumé performing with Prince, GZA of the Wu-Tang Clan, Bernie Worrell, and accolades from Ozzy Osbourne for their "Brownout Presents: Brown Sabbath" project. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled "Berlin Sessions" was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful "Brown Sabbath" records. "Berlin Sessions" finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters.
October 9 street date. Beggars Arkive is excited to announce a limited edition 30- year Anniversary edition of Buffalo Tom's epic second album "Birdbrain". Available on mint green vinyl, the album has been out of print for years. Buffalo Tom (Bill Janovitz, Chris Colbourn, and Tom Maginnis) formed at the University of Massachusetts at Amherst in 1984 - a breeding ground of post-punk guitar bands like Dinosaur Jr. and Pixies. Their friendship with J. Mascis helped the band's career take off by assisting with the production on the band's first two albums. Since "Birdbrain"'s release 30 years ago, many songs from the album have become live favourites. According to Trouser Press, "Birdbrain" boasts most of Buffalo Tom's best songs.
Please note new street date: May 15. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
Please note new street date: May 15. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
Please note new street date: May 15. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
August 28 street date. This 3 CD SoulMusic Records' set celebrates the recordings that Solomon Burke made for the legendary Atlantic Records label between 1960 and 1968. Solomon is generally acknowledged as one of the greatest soul singers to emerge during the genre's golden days. He signed to Atlantic before "soul music" became a bona fide sub-genre of African-American music and it was Solomon who helped define this new movement and he was, in fact, one of the first artists to use "soul" to describe his music. He would eventually be known the world over as ‘The King of Rock and Soul’. His Atlantic recordings are presented in chronological order of recording across the three discs and each session is identified by date, location and all the musicians present are identified (where known). This celebratory definitive collection includes the content of all six of the LPs released during Solomon's tenure with Atlantic plus all non-album tracks for a total of 79 soulful cuts.
September 25 street date. In the five years since Will Butler released his debut album, "Policy", he's toured the world both solo and as a member of Arcade Fire, released the "Friday Night" live album, recorded and released Arcade Fire's international #1 album "Everything Now", earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, "Generations". While the songs on "Generations" contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler's music. The band's electricity is palpable throughout "Generations", with the bulk of the new songs having been worked out live. "Generations" opens a dialogue with the world. It posits answers - and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth... or at least a way forward.
September 25 street date. In the five years since Will Butler released his debut album, "Policy", he's toured the world both solo and as a member of Arcade Fire, released the "Friday Night" live album, recorded and released Arcade Fire's international #1 album "Everything Now", earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, "Generations". While the songs on "Generations" contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler's music. The band's electricity is palpable throughout "Generations", with the bulk of the new songs having been worked out live. "Generations" opens a dialogue with the world. It posits answers - and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth... or at least a way forward.
September 25 street date. In the five years since Will Butler released his debut album, "Policy", he's toured the world both solo and as a member of Arcade Fire, released the "Friday Night" live album, recorded and released Arcade Fire's international #1 album "Everything Now", earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, "Generations". While the songs on "Generations" contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler's music. The band's electricity is palpable throughout "Generations", with the bulk of the new songs having been worked out live. "Generations" opens a dialogue with the world. It posits answers - and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth... or at least a way forward.
Please note new street date: June 12. Having disbanded in 1981, Buzzcocks regrouped in 1989 and began to work on a new album, resulting in a demo cassette circulated in 1991. Featuring early versions of tracks which would appear on later albums, and material which would not make it that far, this collection has remained unreleased until now. Released in association with the band, ‘The 1991 Demo Album’ is alive with the combination of punk energy and melodic and memorable songwriting the band's reputation is founded on, and is both a long-awaited treat for fans and an important document of the group's rebirth.
Please note new street date: June 12. Buzzcocks require no introduction (but you're getting one anyway!). Pivotal to the punk and post-punk DIY movements, the group, led by frontman Pete Shelley and co-conspirator Steve Diggle, brought an essential pop sensibility and sartorial style to the late 1970s and early 1980s. Having disbanded in 1981, the band re-grouped in 1989 and continue to write, record and perform to this day, despite the saddening and untimely loss of Pete Shelley in 2018. This handsome box set captures the eight albums and numerous singles the band produced with Shelley during a 23 year period, alongside previously unheard rarities, demos and outtakes. Packed with remarkable music, including excellent re-visits of much of their best loved material on ‘A Different Compilation’, ‘Sell You Everything’ showcases a longevity and a hunger rarely seen in a band now into their forty-second year.
August 14 street date. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to "Minecraft", the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). Now, following several restocks of "Alpha" to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have "Minecraft Volume Beta" in tangible formats. The double LP arrives in May 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
August 14 street date. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to "Minecraft", the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). Now, following several restocks of "Alpha" to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have "Minecraft Volume Beta" in tangible formats. The double LP arrives in May 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
August 14 street date. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to "Minecraft", the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). Now, following several restocks of "Alpha" to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have "Minecraft Volume Beta" in tangible formats. The double LP arrives in May 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
August 14 street date. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to "Minecraft", the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). Now, following several restocks of "Alpha" to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have "Minecraft Volume Beta" in tangible formats. The double LP arrives in May 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
March 27 street date. Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. The album was distributed internationally by independent distributors Cargo UK and Cargo Germany. They have also self released three 7-inch singles which have all sold out. The debut album is on its third vinyl pressing. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.
March 27 street date. Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. The album was distributed internationally by independent distributors Cargo UK and Cargo Germany. They have also self released three 7-inch singles which have all sold out. The debut album is on its third vinyl pressing. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.
Please note new street date: October 16. For his first record in....uh, well, just a little over a year (!), Bill Callahan's given us his first Gold Record. They can't all be gold, and they're not all six years apart either - all good! All the songs have a stand-alone feel, like singles, meant for you to have a deep encounter with all of a sudden, from the start of the song to the finish. And what do you got when you have a record full of singles - and let's face it, hit That's a Gold Record for you! These are in fact songs meant for other people to sing - but until they do, Bill's got this. He's got a secret on this one, and before we go, we don’t mind sharing it with you: he's figured out how to perfectly place his voice in proximity to your ear. It's based on the distance from your heart to your brain. Simple!
Please note new street date: October 16. For his first record in....uh, well, just a little over a year (!), Bill Callahan's given us his first Gold Record. They can't all be gold, and they're not all six years apart either - all good! All the songs have a stand-alone feel, like singles, meant for you to have a deep encounter with all of a sudden, from the start of the song to the finish. And what do you got when you have a record full of singles - and let's face it, hit That's a Gold Record for you! These are in fact songs meant for other people to sing - but until they do, Bill's got this. He's got a secret on this one, and before we go, we don’t mind sharing it with you: he's figured out how to perfectly place his voice in proximity to your ear. It's based on the distance from your heart to your brain. Simple!
Please note new street date: October 16. For his first record in....uh, well, just a little over a year (!), Bill Callahan's given us his first Gold Record. They can't all be gold, and they're not all six years apart either - all good! All the songs have a stand-alone feel, like singles, meant for you to have a deep encounter with all of a sudden, from the start of the song to the finish. And what do you got when you have a record full of singles - and let's face it, hit That's a Gold Record for you! These are in fact songs meant for other people to sing - but until they do, Bill's got this. He's got a secret on this one, and before we go, we don’t mind sharing it with you: he's figured out how to perfectly place his voice in proximity to your ear. It's based on the distance from your heart to your brain. Simple!
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th) Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th). Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th) Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
August 7 street date. Available again! Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Necroticism - Descanting The Insalubrious" is Carcass' third studio album and the first featuring guitarist Michael Amott. The album was well received by press and fans upon its original release in 1991 and was ranked in Rock Hard magazine's Top Rock/Metal Albums of all time.
August 7 street date. Available again! Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Necroticism - Descanting The Insalubrious" is Carcass' third studio album and the first featuring guitarist Michael Amott. The album was well received by press and fans upon its original release in 1991 and was ranked in Rock Hard magazine's Top Rock/Metal Albums of all time.
August 7 street date. Hot on the heels of Caribou's celebrated album "Suddenly", this limited-edition 12-inch features remixes of album track "Never Come Back" by Four Tet and Morgan Geist. This is what it sounds like when the universe spontaneously synchronizes: the Four Tet remix of Caribou's single "Never Come Back". Kieran Hebden took the track and warped and bent it into a playfully hypnotic late-night earworm that lures you in with its repetitive claps, snares, and synths. Morgan Geist is one of the architects of modern electronic dance music and electronic pop as we know it today. His rework of "Never Come Back" pays tribute to the early 90s transatlantic house phenomenon that stretched from New York to London. Black vinyl in a white dustsleeve housed in a heavyweight cardstock jacket. Does not include a download coupon.
August 7 street date. This limited-edition 12-inch features Floating Points' remixes of "Never Come Back" and "Sister", two songs off Caribou's celebrated album "Suddenly". Three is the magic number! Following remixes by Four Tet and Morgan Geist of "Never Come Back", Floating Points' Sam Shepherd completes the holy trinity, outdoing himself by adding a dash of Motor City oil to the track. The B-side is his remix of "Suddenly" album opener "Sister". Black vinyl in a white dustsleeve housed in a heavyweight cardstock jacket. Does not include a download coupon.
February 28 street date. In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family—universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. “There’s a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes,” he observes. “We are so caught up in the immediate—the details that require our attention every day—that we can be blind to the bigger forces shaping us. That’s why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts.” Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. “I wanted to balance the familiar—the sound that people associate with my music— against these moments of surprise,” Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet. LP is half-speed mastered by Matt Colton of Metropolis Studios in London UK. First album with Dan Snaith vocals on all tracks. Saxophone & guitar performance by Colin Fisher. LP is pressed at RTI on lead-free black vinyl
February 28 street date. In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family—universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. “There’s a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes,” he observes. “We are so caught up in the immediate—the details that require our attention every day—that we can be blind to the bigger forces shaping us. That’s why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts.” Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. “I wanted to balance the familiar—the sound that people associate with my music— against these moments of surprise,” Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet. LP is half-speed mastered by Matt Colton of Metropolis Studios in London UK. First album with Dan Snaith vocals on all tracks. Saxophone & guitar performance by Colin Fisher. LP is pressed at RTI on lead-free black vinyl
May 29 street date. caroline’s debut 12" single features lead track ‘Dark blue’ (A side) and ‘BRJ’ (B side). London based caroline began as a three-piece (Jasper Llewellyn, Mike O'Malley, Casper Hughes) in early 2017, initially evolving out of weekly improvisation sessions. Bringing together shared influences in, and experiences of playing, midwestern ‘emo’ guitar music, Appalachian folk, minimalist classical and various forms of dance music. The group spent a year and a half playing privately, without a project name. Reiterating, deconstructing and re-building the same small handful of songs over and over again, the group slowly expanded their on-stage members before playing their debut show as caroline in 2018. A hand drawn 12” insert is included with all orders.
July 3 street date. Beggars Arkive is excited to reissue "Between 10th and 11th", the second album by The Charlatans, out on July 3rd. Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the often-bootlegged live show from Chicago in 1991, known as "Isolation 21.2.91", a holy grail amongst fans. "Between 10th and 11th" was originally released in 1992 and contained the hit "Weirdo", as well as singles "Tremolo Song" and "I Don't Want To See The Sights". Produced by Flood, you can hear the pure crispness in the audio. Entertainment Weekly said that "Between 10th and 11th" "consolidates the band's riveting, hypnotic attack, all musical tips o' the hat to the 60s and 70s, smeared over a smorgasbord of unrelenting dance beats and topped with hook ("I Don’t Want to See the Sights") after hook ("Weirdo")."
July 3 street date. Beggars Arkive is excited to reissue "Between 10th and 11th", the second album by The Charlatans, out on July 3rd. Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the often-bootlegged live show from Chicago in 1991, known as "Isolation 21.2.91", a holy grail amongst fans. "Between 10th and 11th" was originally released in 1992 and contained the hit "Weirdo", as well as singles "Tremolo Song" and "I Don't Want To See The Sights". Produced by Flood, you can hear the pure crispness in the audio. Entertainment Weekly said that "Between 10th and 11th" "consolidates the band's riveting, hypnotic attack, all musical tips o' the hat to the 60s and 70s, smeared over a smorgasbord of unrelenting dance beats and topped with hook ("I Don’t Want to See the Sights") after hook ("Weirdo")."
October 23 street date. Today, we reintroduce you to the men of Chavez - Matt Sweeney, James Lo, Clay Tarver, and Scott Marshall. First released on May 23, 1995, their debut album "Gone Glimmering" remains an unparalleled slab of visceral rock-action 25 years on - evoking the spooky power and mystery of '70s hard-rock while charting a course toward a future guitar music where dissonance, hooks, and brain crushing beats might thrillingly exist at once. Freshly remastered by Greg Calbi, "Gone Glimmering" returns to us as a gatefold 2xLP and will now include four extra tracks drawn from the "Pentagram Ring" EP, never before available on vinyl.
Please note new street date: August 14. Music from the film "Girl On The Third Floor"; "creepy instrumental music" as described by co-creator Steve Albini. When director Travis Stevens called about composing music for his new horror film, Steve Albini (Shellac) found himself with a new creative challenge. After meeting with Stevens and Greg Newman from Queensbury Pictures, Steve signed on and recruited Tim Midyett (Mint Mile, Silkworm) and Alison Chesley (Helen Money) to complete the ensemble that would compose and record the soundtrack. Upon completion of the soundtrack, Albini reflected, "Tim and Alison are a joy to work with, very open-minded and eager, and master musicians. Just great. That whole part of it, writing and playing with them, was fucking fantastic and effortless, and I wish I could do it all the time".
Please note new street date: August 14. Clear with red coloured vinyl edtion. Music from the film "Girl On The Third Floor"; "creepy instrumental music" as described by co-creator Steve Albini. When director Travis Stevens called about composing music for his new horror film, Steve Albini (Shellac) found himself with a new creative challenge. After meeting with Stevens and Greg Newman from Queensbury Pictures, Steve signed on and recruited Tim Midyett (Mint Mile, Silkworm) and Alison Chesley (Helen Money) to complete the ensemble that would compose and record the soundtrack. Upon completion of the soundtrack, Albini reflected, "Tim and Alison are a joy to work with, very open-minded and eager, and master musicians. Just great. That whole part of it, writing and playing with them, was fucking fantastic and effortless, and I wish I could do it all the time".
Please note new street date: May 29. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
Please note new street date: May 29. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
February 14 street date. For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. “Singers like Patsy Cline and The Supremes carried me through the hardest times of my life,” explains Flegel, “and also provided the soundtrack to the best times.” Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies—a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder. What’s Tonight To Eternity, Cindy Lee’s fifth long-form offering, showcases the project’s most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel’s Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide. What’s Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song “Heavy Metal” (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic’s Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.
April 3 street date. Clams Casino stands amongst the most respected hip-hop producers in the game today. After several years of underground notoriety, Clams became widely known after producing several of the standout tracks on A$AP Rocky’s monolithic debut mixtape "Live. Love. ASAP" and has received widespread critical acclaim for his collaborations with Lil Peep, Vince Staples, Lil B, Mac Miller, The Weeknd, Joji amongst others. His hugely anticipated instrumental album "Moon Trip Radio" is a stunning collection of tracks that showcase his immense talent as both a composer and producer.
October 23 street date. Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album "There Existed an Addiction to Blood". Now rapper Daveed Diggs and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. "Visions of Bodies Being Burned" is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. "Visions of Bodies Being Burned" contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore - the purposely absurdist hip-hop subgenre that flourished in the 1990s - the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Je Parker, and experimental LA drummer Ted Byrnes.
October 23 street date. Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album "There Existed an Addiction to Blood". Now rapper Daveed Diggs and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. "Visions of Bodies Being Burned" is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. "Visions of Bodies Being Burned" contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore - the purposely absurdist hip-hop subgenre that flourished in the 1990s - the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Je Parker, and experimental LA drummer Ted Byrnes.
October 23 street date. Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album "There Existed an Addiction to Blood". Now rapper Daveed Diggs and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. "Visions of Bodies Being Burned" is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. "Visions of Bodies Being Burned" contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore - the purposely absurdist hip-hop subgenre that flourished in the 1990s - the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Je Parker, and experimental LA drummer Ted Byrnes.
Oct. 23 street date. Limited LOSER edition - red, orange, and yellow mix. Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album "There Existed an Addiction to Blood". Now rapper Daveed Diggs and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. "Visions of Bodies Being Burned" is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. "Visions of Bodies Being Burned" contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore - the purposely absurdist hip-hop subgenre that flourished in the 1990s - the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny.
Please note new street date: June 26. Coriky is a band from Washington, D.C. with Ian MacKaye (Fugazi, Minor Threat), Joe Lally (Fugazi), and Amy Farina (The Evens). Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.
Please note new street date: June 26. Coriky is a band from Washington, D.C. with Ian MacKaye (Fugazi, Minor Threat), Joe Lally (Fugazi), and Amy Farina (The Evens). Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.
March 27 street date. Forged in trauma and an intense, bewildering slew of mixed emotions - wildfires raged near the secluded cabin near Kelowna in which he was recording, his grandfather passed away from said wildfires during the recording process, and he discovered his new feelings of love were mutual only a day before she moved to Paris - Vancouver's Ian William Craig has created an album of incredible beauty, sadness and depth. "Red Sun Through Smoke" is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.
March 27 street date. Forged in trauma and an intense, bewildering slew of mixed emotions - wildfires raged near the secluded cabin near Kelowna in which he was recording, his grandfather passed away from said wildfires during the recording process, and he discovered his new feelings of love were mutual only a day before she moved to Paris - Vancouver's Ian William Craig has created an album of incredible beauty, sadness and depth. "Red Sun Through Smoke" is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.
August 29 RSD street date. Mikal Cronin experienced a creativity boom in late 2018/early 2019, inspired in part by the massive wildfires in Southern California. Forced to evacuate from the Idyllwild cabin where he’d been writing songs, Cronin returned to Los Angeles ready to make something. In fact, he recorded two albums: Seeker, released in October 2019, and its electronic counterpart Switched-On Seeker, out April 18, 2020, aka Record Store Day. The idea for Switched-On Seeker, whose title was inspired by a series of early electronic music records by Wendy Carlos playing classical music on an early Moog system, arose from Cronin’s interest in synths and electronic music, and he set out to rerecord the songs of Seeker track by track using only his voice and a collection of synthesizers and drum machines. Alone in his garage, Cronin made the album with a variety of synths including Arturia DrumBrute, Moog Sub 37, Moog Mother-32, Hohner String Performer, Mellotron, Omnichord, various little Casios, Roland SH-01A, Korg R3, and classic drum machine samples. While the overarching theme of destruction and rebirth unites Seeker and Switched-On Seeker, everything else about these two albums is different. Experience your favorite songs from Seeker in a whole new way on this Record Store Day exclusive LP!
January 15 street date. Rat-a-Tat-Tat! Is that the sound of the reaper knocking on your door to collect your soul - or Dale Crover hammering out another distinctive drum fill? There are pretty good odds it's the latter; between 36 years (and about as many full-lengths and EPs) as drummer/bassist for the Melvins and his contributions to acts as varied as Altamont, Peeping Tom, Redd Kross, Shrinebuilder, and a little band called Nirvana, he's built quite the body of work. In 2017, he added a proper solo album to his extensive catalog, "Fickle Finger of Fate". Now he's followed that with "Rat-a-Tat-Tat!". Crover takes the solo thing seriously: he wrote the album while on the road and provided vocals, drums, guitars, vibraphone, and miscellaneous percussion. So what's different this time around? Crover assembled an actual band to help him out. Redd Kross bassist Steve McDonald asked Crover to open for Redd Kross, Crover asked McDonald to play bass for him, and the rest is history.In addition to McDonald, Toshi Kasai (ex-Big Business, Plan D) helps with keyboards, synths, jawharp, and backing vocals. Mindee Jorgensen (Dangerously Sleazy) sits behind the kit live and contributes additional drumming and some sweet saxophone skills here. His former Altamont bandmate Dan Southwick plays bass on "Tougher", a track Crover cowrote with Kasai.
January 15 street date. Rat-a-Tat-Tat! Is that the sound of the reaper knocking on your door to collect your soul - or Dale Crover hammering out another distinctive drum fill? There are pretty good odds it's the latter; between 36 years (and about as many full-lengths and EPs) as drummer/bassist for the Melvins and his contributions to acts as varied as Altamont, Peeping Tom, Redd Kross, Shrinebuilder, and a little band called Nirvana, he's built quite the body of work. In 2017, he added a proper solo album to his extensive catalog, "Fickle Finger of Fate". Now he's followed that with "Rat-a-Tat-Tat!". Crover takes the solo thing seriously: he wrote the album while on the road and provided vocals, drums, guitars, vibraphone, and miscellaneous percussion. So what's different this time around? Crover assembled an actual band to help him out. Redd Kross bassist Steve McDonald asked Crover to open for Redd Kross, Crover asked McDonald to play bass for him, and the rest is history.In addition to McDonald, Toshi Kasai (ex-Big Business, Plan D) helps with keyboards, synths, jawharp, and backing vocals. Mindee Jorgensen (Dangerously Sleazy) sits behind the kit live and contributes additional drumming and some sweet saxophone skills here. His former Altamont bandmate Dan Southwick plays bass on "Tougher", a track Crover cowrote with Kasai.
September 18 street date. Cults were deep into the process of recording their fourth full-length LP when singer Madeline Follin let a secret slip. At the time, it seemed inconsequential, just a passing comment amongst friends, but in the end, it would prove to be a monumental revelation, one that would change the acclaimed New York duo forever. What followed was a radical reimagining, both of the band's sound and its dynamic, and the result is Cults' utterly mesmerizing new album, ‘Host’. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. Four albums in and the duo is still discovering fresh layers and possibility within their creative relationship, a bond which grows richer and more rewarding by the day.
September 18 street date. Cults were deep into the process of recording their fourth full-length LP when singer Madeline Follin let a secret slip. At the time, it seemed inconsequential, just a passing comment amongst friends, but in the end, it would prove to be a monumental revelation, one that would change the acclaimed New York duo forever. What followed was a radical reimagining, both of the band's sound and its dynamic, and the result is Cults' utterly mesmerizing new album, ‘Host’. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. Four albums in and the duo is still discovering fresh layers and possibility within their creative relationship, a bond which grows richer and more rewarding by the day.
September 18 street date. Cults were deep into the process of recording their fourth full-length LP when singer Madeline Follin let a secret slip. At the time, it seemed inconsequential, just a passing comment amongst friends, but in the end, it would prove to be a monumental revelation, one that would change the acclaimed New York duo forever. What followed was a radical reimagining, both of the band's sound and its dynamic, and the result is Cults' utterly mesmerizing new album, ‘Host’. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. Four albums in and the duo is still discovering fresh layers and possibility within their creative relationship, a bond which grows richer and more rewarding by the day.
October 9 street date. "Nobody Lives Here Anymore", the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke's mind. Recorded between May and November 2019 in Memphis, the album is a snow globe of the mid-20th-century's popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. After an extensive eighteen-months of touring in support of 2017's "Alien Sunset" and 2018's "Hollow Ground", he set about sifting through the fragment pieces and sketches of tunes he'd accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. Unlike earlier works that were meticulously demoed, Clarke opted for rough drafts as he would with one of his drawings, seeking to capture something more immediate and honest. With an overstuffed bag brimming with certifiable cosmic Americana gems and no shortage of new material in sight, Max saw no sense holding back - deciding to include the whole batch of recordings and release it as a double-LP. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbour love and meaning inside a world that sold itself out.
October 9 street date. "Nobody Lives Here Anymore", the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke's mind. Recorded between May and November 2019 in Memphis, the album is a snow globe of the mid-20th-century's popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. After an extensive eighteen-months of touring in support of 2017's "Alien Sunset" and 2018's "Hollow Ground", he set about sifting through the fragment pieces and sketches of tunes he'd accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. Unlike earlier works that were meticulously demoed, Clarke opted for rough drafts as he would with one of his drawings, seeking to capture something more immediate and honest. With an overstuffed bag brimming with certifiable cosmic Americana gems and no shortage of new material in sight, Max saw no sense holding back - deciding to include the whole batch of recordings and release it as a double-LP. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbour love and meaning inside a world that sold itself out.
October 9 street date. "Nobody Lives Here Anymore", the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke's mind. Recorded between May and November 2019 in Memphis, the album is a snow globe of the mid-20th-century's popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. After an extensive eighteen-months of touring in support of 2017's "Alien Sunset" and 2018's "Hollow Ground", he set about sifting through the fragment pieces and sketches of tunes he'd accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. Unlike earlier works that were meticulously demoed, Clarke opted for rough drafts as he would with one of his drawings, seeking to capture something more immediate and honest. With an overstuffed bag brimming with certifiable cosmic Americana gems and no shortage of new material in sight, Max saw no sense holding back - deciding to include the whole batch of recordings and release it as a double-LP. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbour love and meaning inside a world that sold itself out.
Please note street date is July 31. Joey Shithead Keithley, Canada's Godfather of Punk, has been getting sick of the dismaying news coming out of world capitals like Washington, Moscow, Beijing, Tehran, Pyongyang etc., so he decided to come up with D.O.A.'s musical reaction to this crap. So here it is: "Treason" - the band's eighteenth album. It takes off in full frenzy with "All The President"s Men" - "it's time to put them in the pen". Then the band quickly launches into a modern punk anthem, "Wait Till Tomorrow", a look at the brutal treatment of refugees. But never lost on D.O.A. is that part of their mantra that is punk rock humour, hence they have spawned: "It Was D.O.A.", an uproarious piss-take on unsuspecting musicians that will soon learn the tough lessons of the road: the D.O.A. members themselves. And of course with an album named "Treason", one would expect some comment on President Donald Trump. There's also an absolutely ripping version of fellow Canadian Neil Young's "Hey Hey, My My". On "Treason", D.O.A. pulls no punches, and nor should they. This is an uncontrollable punk rock riot that seems to breathe fire, the way punk was meant to be.
Please note street date is July 31. Joey Shithead Keithley, Canada's Godfather of Punk, has been getting sick of the dismaying news coming out of world capitals like Washington, Moscow, Beijing, Tehran, Pyongyang etc., so he decided to come up with D.O.A.'s musical reaction to this crap. So here it is: "Treason" - the band's eighteenth album. It takes off in full frenzy with "All The President"s Men" - "it's time to put them in the pen". Then the band quickly launches into a modern punk anthem, "Wait Till Tomorrow", a look at the brutal treatment of refugees. But never lost on D.O.A. is that part of their mantra that is punk rock humour, hence they have spawned: "It Was D.O.A.", an uproarious piss-take on unsuspecting musicians that will soon learn the tough lessons of the road: the D.O.A. members themselves. And of course with an album named "Treason", one would expect some comment on President Donald Trump. There's also an absolutely ripping version of fellow Canadian Neil Young's "Hey Hey, My My". On "Treason", D.O.A. pulls no punches, and nor should they. This is an uncontrollable punk rock riot that seems to breathe fire, the way punk was meant to be.
Please note new street date: June 12. The brand new studio album from punk/metal icon and powerhouse vocalist Glenn Danzig paying tribute to his idol and inspiration, Elvis Presley! Features 14 unforgettable interpretations of well-known Elvis classics and unheralded deep cuts that will thrill fans of both of these kings of rock music! Highlights include Danzig's sinister take on "Fever" and a truly haunting version of "Always On My Mind!" Danzig is no stranger to working with American music royalty having written songs for both Johnny Cash and Roy Orbison! Available in a special digipak for CD and on vinyl in a deluxe gatefold jacket!
Please note new street date: June 12. The brand new studio album from punk/metal icon and powerhouse vocalist Glenn Danzig paying tribute to his idol and inspiration, Elvis Presley! Features 14 unforgettable interpretations of well-known Elvis classics and unheralded deep cuts that will thrill fans of both of these kings of rock music! Highlights include Danzig's sinister take on "Fever" and a truly haunting version of "Always On My Mind!" Danzig is no stranger to working with American music royalty having written songs for both Johnny Cash and Roy Orbison! Available in a special digipak for CD and on vinyl in a deluxe gatefold jacket!
February 28 street date. Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For "Signals", his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet. Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself. "Signals " is an album with a lot to discover, and repeat listens will reveal an inviting - if a bit unnerving - world that you'll want to spend all day in.
February 28 street date. Limited smoke coloured vinyl edition. Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For "Signals", his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet. Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself. "Signals " is an album with a lot to discover, and repeat listens will reveal an inviting - if a bit unnerving - world that you'll want to spend all day in.
Please note new street date: May 29. Veteran thrashgrass band Days N Daze has spent more than a decade doing it themselves in a way few can match. From the beginning, they have forged their own path - playing acoustically so they'd have less gear and could perform anywhere, booking and promoting themselves, and self-recording and self-releasing their albums. In the rare instances when they work with outsiders, they stick with people they know. Which is why, after a dozen hardscrabble years, they've joined Fat Wreck Chords for their eighth full-length! Like previous Days N Daze albums, "Show Me The Blueprints" crams more ideas into its 11 tracks than albums twice its length. "Show Me The Blueprints" is a bold step forward for a band that has always followed a bold path.
Please note new street date: May 29. Veteran thrashgrass band Days N Daze has spent more than a decade doing it themselves in a way few can match. From the beginning, they have forged their own path - playing acoustically so they'd have less gear and could perform anywhere, booking and promoting themselves, and self-recording and self-releasing their albums. In the rare instances when they work with outsiders, they stick with people they know. Which is why, after a dozen hardscrabble years, they've joined Fat Wreck Chords for their eighth full-length! Like previous Days N Daze albums, "Show Me The Blueprints" crams more ideas into its 11 tracks than albums twice its length. "Show Me The Blueprints" is a bold step forward for a band that has always followed a bold path.
September 26 street date. NOTE THAT THERE HAS BEEN A SLIGHT PRICE INCREASE ON THIS TITLE, ALL OLDER B/Os HAVE BEEN DELETED AS OF 7/8/20 SO BE SURE TO RE-ORDER A.S.A.P. Green Colored 180 Gram Vinyl + Download card. Pre-GWAR mayhem. This is the band that started it all. Before Oderus Urungus, Dave Brockie fronted Richmond VA art-punk weirdos, Death Piggy. First American vinyl pressing in over 30 years. All 3 of their EPs are combined with unreleased and compilation tracks on 180 gram vinyl with experimental etchings, remastered from the original tapes and with liner notes written by the band's guitarist Russ Bahorsky. BONUS Download: 20 minute never before heard live improv acoustic set from 1984, recorded as the band surprised business owners and pedestrians on the street with an impromptu performance.
June 19 street date. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: June 19. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: June 19. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: September 18. Vocalist, multi-instrumentalist and sonic visionary Angel Deradoorian has never shied away from testing aural and conceptual boundaries in her work. Fusing elements of indie rock, world music, and dance rhythms, Deradoorian launched a solo career after making a name for herself collaborating with notable acts Dirty Projectors, Avey Tare of Animal Collective, and Flying Lotus. Deradoorian has released two full-length solo albums, Mind Raft in 2010 (Lovepump United) and The Expanding Flower Planet in 2015 (Anticon). Her music is a fusion of riveting vocals co-mingling with various of instruments – a true testament to an artist who found new depths both within herself and in her process through allowing herself to be driven entirely by instinct. Now signed with ANTI- records, Deradoorian is set to release her third album Find The Sun on May 22.
January 31 street date. Destroyer conceived of Have We Met as a Y2K album. Dan Bejar assigned producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” The result is not a startling departure from 2017’s ken, but unlike that more band-oriented approach, the only actual instruments that appear are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, but Have We Met is buoyed by precise, plasticky guitar shredding three dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date. Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record— certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
January 31 street date. Destroyer conceived of Have We Met as a Y2K album. Dan Bejar assigned producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” The result is not a startling departure from 2017’s ken, but unlike that more band-oriented approach, the only actual instruments that appear are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, but Have We Met is buoyed by precise, plasticky guitar shredding three dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date. Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record— certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
August 14 street date. Tanya Donelly and the Parkington Sisters cover some of Tanya's favorite songs by The Go Go's, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O'Hara on this outstanding new album. "When Joe from American Laundromat asked if I'd be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said Yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over".
August 14 street date. Tanya Donelly and the Parkington Sisters cover some of Tanya's favorite songs by The Go Go's, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O'Hara on this outstanding new album. "When Joe from American Laundromat asked if I'd be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said Yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over".
February 7 street date. Dooz Kawa revient avec son cinquième album, "Nomad's Land", dont le fil conducteur est le voyage, une échappée belle physique mais avant tout spirituelle et philosophique. Cet album se veut onirique et plein d'espoir en dépit du constat parfois difficile du rappeur. Sur ce disque fait de tristesse gaie, Dooz Kawa nous parle en treize chansons du bonheur et de ce qui nous lie. Il invite pour l'occasion Gaël Faye, Davodka, Degiheugi, Shantel, Swift Guad et le spécialiste en mandoline Vincent Beer Demander. Le tout est entrecoupé d’interludes avec Dorian Astor, maitre de conférences international et expert européen de Nietzsche. Force est de constater que peu importe le temps qui passe, peu importe les années qui défilent et l’âge qui avance, les mots de Dooz Kawa, seul ou accompagné, font toujours le même effet.
February 7 street date. Dooz Kawa revient avec son cinquième album, "Nomad's Land", dont le fil conducteur est le voyage, une échappée belle physique mais avant tout spirituelle et philosophique. Cet album se veut onirique et plein d'espoir en dépit du constat parfois difficile du rappeur. Sur ce disque fait de tristesse gaie, Dooz Kawa nous parle en treize chansons du bonheur et de ce qui nous lie. Il invite pour l'occasion Gaël Faye, Davodka, Degiheugi, Shantel, Swift Guad et le spécialiste en mandoline Vincent Beer Demander. Le tout est entrecoupé d’interludes avec Dorian Astor, maitre de conférences international et expert européen de Nietzsche. Force est de constater que peu importe le temps qui passe, peu importe les années qui défilent et l’âge qui avance, les mots de Dooz Kawa, seul ou accompagné, font toujours le même effet.
February 14 street date (LP) / February 21 for CD (date change). The simple power of DRAMA's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled "Dance Without Me", a refined collection that recasts romantic tragedy as moonlit self-acceptance. DRAMA's first record appears remarkably refined for a young band; Rosa's lyrical candor creates expressionistic narratives about interpersonal intricacies all finessed for the club by Shehade. Here we see a lyricist whose vocal stylings are, not just complimented, but completed by a producer, and a producer whose genteel tracks are given a soul, however blue, depicted in a collaborator's deeply human lyrics.
February 14 street date (LP) / February 21 for CD (date change). The simple power of DRAMA's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled "Dance Without Me", a refined collection that recasts romantic tragedy as moonlit self-acceptance. DRAMA's first record appears remarkably refined for a young band; Rosa's lyrical candor creates expressionistic narratives about interpersonal intricacies all finessed for the club by Shehade. Here we see a lyricist whose vocal stylings are, not just complimented, but completed by a producer, and a producer whose genteel tracks are given a soul, however blue, depicted in a collaborator's deeply human lyrics.
March 13 street date. First time on vinyl. "Placer Found" establishes the sonic and emotional palette that would come to define Dan Burton's work as Early Day Miners. This is music that rewards patience, and reveals itself more with each listen. There's a deep clarity within the soft focus - equal parts lost and found. The opening title track sets the mood just right, its comforting guitar interplay and gentle vocals holding your hand toward an unseen destination that's "still a ways to go." "East Berlin at Night" is the definition of cinematic, almost like an Ativin song with the amplifiers turned down from 12 to 3, while the last two minutes of "Texas Cinema," are the equivalent of a deep embrace from which you never want to let go. This new edition brings it all back to the proverbial start, as it is being released on Secretly Canadian which championed Ativin from the beginning and quickly became a home for Early Day Miners after the initial Western Vinyl release of "Placer Found." The two unreleased instrumental tracks on side D are fascinating glimpses into creative paths not taken. "Prospect Refuge" is a delicious slice of posi-vibes math-rock, while the taut, vaguely ominous "Blue Casino" makes an entirely different song out of a riff later utilized for the standout "Jefferson" from the band's 2003 "Jefferson at Rest" LP.
Please note new street date: June 5. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 5. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 5. Limited opaque white vinyl edition. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
May 29 street date. For the first time on vinyl, we finally bring you Elevator's 2002 "Darkness-Light" album. With freshly remastered audio and lots of newly scanned original artwork on the colourful inner and outer sleeves. Comes on coloured vinyl with a digital download code that includes a bonus track. Limited one time pressing.
Please note new street date: September 25. Blue Fog Recordings offers a newly remastered version of the final album by Moncton's heavy true psychedelic gem known as Elevator. Originally released as a single LP in 2004, this new version comes with second full album of unreleased tracks from the original sessions! Pressed on fancy coloured vinyl with a nice gatefold jacket and inner sleeves containing lots of additional artwork. Elevator started as a side outlet for Eric's Trip songwriter/singer/guitarist Rick White when he released the first Elevator To Hell LP with Sub Pop in 1995. Soon becoming a full band, they released more albums with Sub Pop and others before creating Blue Fog Recordings for two final albums in 2002 and 2004. The original and only vinyl pressing of "August" remains very rare and sought after, so it's a pleasure for Blue Fog to have created this special new package for fans.
February 7 street date. After reuniting with briefly estranged singer Tetsuya Fukagawa, and shaking up their lineup for the first time in 25 years, Envy return refreshed with their most dynamic and progressive work, "The Fallen Crimson" - their first new studio album in five years. Japan's most iconic and influential post-hardcore band suffered seemingly insurmountable personal and creative struggles that challenged the very existence of the band like nothing they had experienced in their nearly three decades together. Opening with the kind of thunderous thrash that made them so renowned in the first place, and closing with the kind of triumphant ascent that has made them an inimitable force, "The Fallen Crimson" finds Envy perfecting their past, exploring their present, and pondering their future.
February 7 street date. After reuniting with briefly estranged singer Tetsuya Fukagawa, and shaking up their lineup for the first time in 25 years, Envy return refreshed with their most dynamic and progressive work, "The Fallen Crimson" - their first new studio album in five years. Japan's most iconic and influential post-hardcore band suffered seemingly insurmountable personal and creative struggles that challenged the very existence of the band like nothing they had experienced in their nearly three decades together. Opening with the kind of thunderous thrash that made them so renowned in the first place, and closing with the kind of triumphant ascent that has made them an inimitable force, "The Fallen Crimson" finds Envy perfecting their past, exploring their present, and pondering their future.
February 7 street date. Limited metallic sand and deep crimson vinyl edition - exclusively available to independent shops. After reuniting with briefly estranged singer Tetsuya Fukagawa, and shaking up their lineup for the first time in 25 years, Envy return refreshed with their most dynamic and progressive work, "The Fallen Crimson" - their first new studio album in five years. Japan's most iconic and influential post-hardcore band suffered seemingly insurmountable personal and creative struggles that challenged the very existence of the band like nothing they had experienced in their nearly three decades together. Opening with the kind of thunderous thrash that made them so renowned in the first place, and closing with the kind of triumphant ascent that has made them an inimitable force, "The Fallen Crimson" finds Envy perfecting their past, exploring their present, and pondering their future.
March 13 street date. Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favor of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers'’ individualism, optimism and deeply empathetic soul. Espers' self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn't shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.
March 13 street date. Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favor of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers'’ individualism, optimism and deeply empathetic soul. Espers' self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn't shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.
March 13 street date. The second Espers album, "The Weed Tree" was released in 2005. It was a nearly inevitable endeavor for the group, made almost entirely of cover material, but the traditional folk songs - "Rosemary Lane" and "Black Is The Color" - were paired with songs by Nico, Michael Hurley, and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers' thorough re-imagining of the material in their own image. The addition of current members Helena Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition, but making it new at the same time.
March 13 street date. The second Espers album, "The Weed Tree" was released in 2005. It was a nearly inevitable endeavor for the group, made almost entirely of cover material, but the traditional folk songs - "Rosemary Lane" and "Black Is The Color" - were paired with songs by Nico, Michael Hurley, and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers' thorough re-imagining of the material in their own image. The addition of current members Helena Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition, but making it new at the same time.
Please note new street date: March 13. Smile With Your Heart: The Best of Bill Evans on Resonance takes listeners on a journey through the four official Bill Evans discoveries in the Resonance catalog — Live at Art D’Lugoff’s Top of the Gate (2012), Some Other Time: The Lost Session from the Black Forest (2016), Another Time: The Hilversum Concert (2017) & Evans In England (2019). Mastered by Bernie Grudman and pressed on 180-gram vinyl at RTI.
Please note new street date: September 26 Record Store Day Drop. Back by overwhelming popular demand, the critically acclaimed 2016 Resonance release by jazz piano icon Bill Evans, Some Other Time: The Lost Session from the Black Forest, is available once again as a deluxe, exclusive Record Store Day limited-edition (of 6,000 copies worldwide) 180gram 2LP 2nd pressing newly-remastered by renowned engineer Kevin Gray at Cohearent Audio, cut at 33 1/3 RPM and pressed by RTI. This studio album features bassist Eddie Gomez and drummer Jack DeJohnette, recorded by legendary engineer/producer Hans Georg Brunner-Schwer at MPS Studios in Villingen, Germany on June 20, 1968, only five days after the trio's tour de force live performance at the Montreux Jazz Festival. The extensive LP insert includes essays by the acclaimed author Marc Myers and MPS studios engineer and studio manager Friedhelm Schulz; interviews with Eddie Gomez and Jack DeJohnette; plus previously unpublished photos by David Redfern, Giuseppe Pino, Jan Persson, and Hans Harzheim, including images taken at the actual June 20th session by German Hasenfratz.
Everything Is Recorded is the collaborative artist project helmed by British musician and producer Richard Russell.
FRIDAY FOREVER is an investigation into the universality of the Friday night experience.
It's the follow up to his eponymous debut album which was released in 2018 and went on to be nominated for the Mercury Music Prize and hailed by Q Magazine as a "masterclass in the art of collaboration".
FRIDAY FOREVER features an instinctively curated set of collaborators including the Manchester rapper Aitch, South London's FLOHIO and James Massiah, Trinidad born Berwyn, Ireland's Maria Somerville and Kean Kavanagh, Staten Island rap god Ghostface Killah of Wu-Tang Clan, longterm EIR collaborator Infinite Coles, West London's A.K. Paul and a rare contribution from the anarchy punk legend Penny Rimbaud of Crass
Everything Is Recorded is the collaborative artist project helmed by British musician and producer Richard Russell.
FRIDAY FOREVER is an investigation into the universality of the Friday night experience.
It's the follow up to his eponymous debut album which was released in 2018 and went on to be nominated for the Mercury Music Prize and hailed by Q Magazine as a "masterclass in the art of collaboration".
FRIDAY FOREVER features an instinctively curated set of collaborators including the Manchester rapper Aitch, South London's FLOHIO and James Massiah, Trinidad born Berwyn, Ireland's Maria Somerville and Kean Kavanagh, Staten Island rap god Ghostface Killah of Wu-Tang Clan, longterm EIR collaborator Infinite Coles, West London's A.K. Paul and a rare contribution from the anarchy punk legend Penny Rimbaud of Crass
May 8 street date. From the opening call of Flash Flash Flash’s “No Revolution,” Boston’s punk rock patriots the Explosion make their statement quite clear. Lyrics like “We look to the past, and ask for nothing more” drive home the band’s unapologetic point -- sure they wish it was 1977, but they know full well that it isn’t. With that in mind, the band’s debut LP still sees them tumble through 14 tracks of dirty Clash-styled punk rock in under a half hour -- a performance that would make their forefathers proud. It’s simple music and far from mind-blowing lyrics that form the basis of the Explosion’s attack, but it’s their high-energy attitude that carries their music to the next level. Tracks like “Terrorist” and “God Bless the S.O.S” are short speedy bursts of punk packed with catchy choruses and thick guitars, a recipe that the band often employs and generally finds success with. After their poorly recorded first EP, Flash Flash Flash’s to-the-point presentation makes it clear that all this band needed was a little polishing to make a great record. They certainly got it down this time around, and the result is one of the better punk albums to arise from a scene that has already lasted a few more decades than expected. – AllMusic.com. SPIN Top 20 Albums Of 2000.
May 8 street date. From the opening call of Flash Flash Flash’s “No Revolution,” Boston’s punk rock patriots the Explosion make their statement quite clear. Lyrics like “We look to the past, and ask for nothing more” drive home the band’s unapologetic point -- sure they wish it was 1977, but they know full well that it isn’t. With that in mind, the band’s debut LP still sees them tumble through 14 tracks of dirty Clash-styled punk rock in under a half hour -- a performance that would make their forefathers proud. It’s simple music and far from mind-blowing lyrics that form the basis of the Explosion’s attack, but it’s their high-energy attitude that carries their music to the next level. Tracks like “Terrorist” and “God Bless the S.O.S” are short speedy bursts of punk packed with catchy choruses and thick guitars, a recipe that the band often employs and generally finds success with. After their poorly recorded first EP, Flash Flash Flash’s to-the-point presentation makes it clear that all this band needed was a little polishing to make a great record. They certainly got it down this time around, and the result is one of the better punk albums to arise from a scene that has already lasted a few more decades than expected. – AllMusic.com. SPIN Top 20 Albums Of 2000.
Please note new street date: May 15. "I first heard Daniel in 1985. Half Japanese had a show in Austin and Daniel's manager Jeff Tartakov gave me a tape of "Hi How Are You?". I loved it and began corresponding with Jeff and Daniel. A few years later I was in NYC to take part in a recording session of Moe Tucker at Kramer's studio Noise New York. Daniel was at the studio and he and I became friends. Daniel recorded two songs with lyrics I wrote. He recorded "Do It Right" for Moe's album, and "Some Things Last A Long Time" for his album "1990". Soon after his time in NYC I invited him to my home and we had a week to record the songs for "It's Spooky". I considered Daniel to be a genius. I am so grateful to have had the opportunity to work with him. I'm so grateful to have it released again and it's sounding better than ever thanks to an amazing mastering job by Kramer". - Jad Fair.
May 22 street date. In early 2016, D.C. punk legends Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, One Last Wish) met up at Hampton's Brooklyn home to play music together. Friends since first grade, the two guitarists ended up writing a handful of songs that day, then closed out the session with a spur-of-the-moment decision to start a band. When it came to finding a bassist, Baker and Hampton looked to Johnny Temple of Girls Against Boys and Soulside (another fellow student at their elementary school), who equally shared their passion for what Temple refers to as "loud, angry, visceral music." By the end of the year, the band had enlisted Refused frontman Dennis Lyxzén as their singer, thus cementing the lineup to punk-rock supergroup Fake Names. Soon after dubbing themselves Fake Names, the band headed to Renegade Studios with the goal of creating a demo to present to record labels. But after playing those recordings for Baker's Bad Religion bandmate Brett Gurewitz, the Epitaph founder made an unexpected proposal. "Brett said to us, "this isn't a demo, this is the album," Baker recalls. "He was pretty adamant about putting it out exactly as it was, so that's what we wound up doing."
May 22 street date. In early 2016, D.C. punk legends Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, One Last Wish) met up at Hampton's Brooklyn home to play music together. Friends since first grade, the two guitarists ended up writing a handful of songs that day, then closed out the session with a spur-of-the-moment decision to start a band. When it came to finding a bassist, Baker and Hampton looked to Johnny Temple of Girls Against Boys and Soulside (another fellow student at their elementary school), who equally shared their passion for what Temple refers to as "loud, angry, visceral music." By the end of the year, the band had enlisted Refused frontman Dennis Lyxzén as their singer, thus cementing the lineup to punk-rock supergroup Fake Names. Soon after dubbing themselves Fake Names, the band headed to Renegade Studios with the goal of creating a demo to present to record labels. But after playing those recordings for Baker's Bad Religion bandmate Brett Gurewitz, the Epitaph founder made an unexpected proposal. "Brett said to us, "this isn't a demo, this is the album," Baker recalls. "He was pretty adamant about putting it out exactly as it was, so that's what we wound up doing."
October 23 street date. Beggars Arkive is excited to announce the upcoming reissue of The Fall's 10th studio album, 1988's "The Frenz Experiment". Available as an expanded edition on 2CD and 2LP, the releases both contain the original album plus singles and B-Sides. The CD version includes a previously unreleased 4-track BBC session and their rare cover of The Beatles' "A Day In The Life", plus a 24-page booklet with new interviews. The notes included with both formats contain brand new interviews conducted by Daryl Easley in May 2020. "The Frenz Experiment" includes The Fall's cover of the Northern Soul standard, "There's A Ghost In My House", which scored them their first UK Top 30 singles chart position. "Hit The North", one of their much-loved anthems, followed. "The Frenz Experiment" was released at the end of February 1988 and was the band's first UK Top 20 album.
October 23 street date. Beggars Arkive is excited to announce the upcoming reissue of The Fall's 10th studio album, 1988's "The Frenz Experiment". Available as an expanded edition on 2CD and 2LP, the releases both contain the original album plus singles and B-Sides. The LP version contains extensive sleeve notes with new interviews. The notes included with both formats contain brand new interviews conducted by Daryl Easley in May 2020. "The Frenz Experiment" includes The Fall's cover of the Northern Soul standard, "There's A Ghost In My House", which scored them their first UK Top 30 singles chart position. "Hit The North", one of their much-loved anthems, followed. "The Frenz Experiment" was released at the end of February 1988 and was the band's first UK Top 20 album.
January 17 street date. The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. There are ten of these musical haikus on "Countless Branches", as pointed and as poignant as anything he's ever recorded. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
January 17 street date. Deluxe edition 2xLP set includes two exclusive tracks and a reworking of "Don't Let My Marigolds Die". The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
January 17 street date. Deluxe edition 2xLP set includes two exclusive tracks and a reworking of "Don't Let My Marigolds Die". The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
Please note new street date: August 29 - RECORD STORE DAY DROP. We are proud to present the instrumental version of "The Tales People Tell", showcasing Kelly Finnigan's superior production and arrangement talents. His debut solo album for Colemine Records represents the culmination of his 15 years of experience - in the studio as a songwriter, multi-instrumentalist, engineer, producer - and touring the US and Europe as a singer, musician, and band-leader. The content within reflects his dedication to expression through the rich American music traditions of soul, gospel, doo-wop, and R&B. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music: a visionary that writes, records, performs and produces his own material.
Available now. Each time Firewind released an album over the last 20 years, it wasn't just the brilliancy of exceptional guitarist Gus G (Ozzy Osbourne, Arch Enemy, Dream Evil) that fans were in awe of, but also the skills of every one of the band's vocalists. In that respect nothing has changed in their newest self-titled album, quite the contrary: with his charismatic voice new member Herbie Langhans (Avantasia, Radiant, Seventh Avenue, amongst others) refines each and every last one of the ten new songs and infuses them with an expressive force that is remarkable. Gus G and Herbie Langhans got to know each other back in the autumn of 2019, when the Firewind leader was looking for a suitable replacement for Henning Basse after the tour with Queensrÿche. Just a few weeks later the recordings for "Firewind" were a done deal, ready for Swedish sound engineer Tobias Lindell (Europe, Avatar, H.E.A.T.) to mix them in Lindell Audio Studios. The result is impressive indeed. "Firewind" boasts 11 prime examples of Melodic Metal songs. The skill, craftsmanship and power bleeds through every note, a passion you can almost taste, with hymnal melodies as a particularly outstanding feature.
Available now. Limited orange vinyl edition. Each time Firewind released an album over the last 20 years, it wasn't just the brilliancy of exceptional guitarist Gus G (Ozzy Osbourne, Arch Enemy, Dream Evil) that fans were in awe of, but also the skills of every one of the band's vocalists. In that respect nothing has changed in their newest self-titled album, quite the contrary: with his charismatic voice new member Herbie Langhans (Avantasia, Radiant, Seventh Avenue, amongst others) refines each and every last one of the ten new songs and infuses them with an expressive force that is remarkable. Gus G and Herbie Langhans got to know each other back in the autumn of 2019, when the Firewind leader was looking for a suitable replacement for Henning Basse after the tour with Queensrÿche. Just a few weeks later the recordings for "Firewind" were a done deal, ready for Swedish sound engineer Tobias Lindell (Europe, Avatar, H.E.A.T.) to mix them in Lindell Audio Studios. The result is impressive indeed. "Firewind" boasts 11 prime examples of Melodic Metal songs. The skill, craftsmanship and power bleeds through every note, a passion you can almost taste, with hymnal melodies as a particularly outstanding feature.
February 21 street date. Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled "Waxing Moon". While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as co-founder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon's political and artistic life for many years now, and "Waxing Moon" finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.
February 21 street date. Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled "Waxing Moon". While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as co-founder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon's political and artistic life for many years now, and "Waxing Moon" finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.
June 5 street date. Previously solicited with incorrect, lower pricing. All backorders have been cancelled. "Sixteen Oceans" is the first new Four Tet album in 3 years. Includes "Baby", featuring vocals by Ellie Goulding. "Four Tet is capable of going deeper and expanding higher than almost anyone else out there" - Pitchfork. "Eccentric spirit, production mastery and emotional heft " - NME.
Please note new street date: June 5. "Sixteen Oceans" is the first new Four Tet album in 3 years. Includes "Baby", featuring vocals by Ellie Goulding. "Four Tet is capable of going deeper and expanding higher than almost anyone else out there" - Pitchfork. "Eccentric spirit, production mastery and emotional heft " - NME.
August 21 street date. Beggars Arkive is excited to announce the remastered 40th anniversary reissue of the classic Freeez debut album "Southern Freeez" available as a coloured double LP (blue/black marbled). The package also includes "Variations On A Theem", which features six tracks by Freeez founding member and creator John Rocca. Alongside five new Rocca original songs is John's new version, with his vocals for the very first time, of the band’s 1981 UK Top Ten hit ‘Southern Freeez’. Freeez were a legendary group from London, known as one of the UK's main jazz-funk bands of the early 1980s - aka Brit funk. While they may not be a household name, if you know, you know. Freeez went on to be sampled many times, by artists including Jamie xx, Coolio, Brandy, Madlib, and more. "Southern Freeez" was initially released in late 1980 on John Rocca's own label Pink Rythm, but within weeks, they were signed by Beggars Banquet, who re-released it in 1981. The title track, which included guest vocals by Ingrid Mansfield Allman, was described as ‘The Ultimate Brit Funk tune!’ by Gilles Peterson.
March 13 street date. Since their 2013 self-titled debut, The Frights have embodied a carefree vulnerability, setting their most awkward and painful feelings to a wildly joyful surf-punk sound. On their fourth studio album Everything Seems Like Yesterday, the San Diego-based band twist that dynamic to deliver their most emotionally direct body of work to date: a collection of songs written and performed solely by frontman Mikey Carnevale, each track matching its stripped-back simplicity with both raw outpouring and intense reflection. Everything Seems Like Yesterday first took shape through a handful of songs Carnevale wrote on acoustic guitar back in fall 2018. “Hypochondriac was the first time I’d ever written that way, and it felt really therapeutic,” he says, referring to the band’s 2018 Epitaph debut. “It pushed me to get much more into the craft of songwriting—as opposed to mostly writing songs for people to mosh to—and it felt right to keep going with that on this record.” Carnevale originally intended to release this acoustic material as a solo album, but had a change of heart upon sharing his new songs at a series of shows in San Diego and L.A. “All the guys in the band came out and the response was pretty positive, so I started to think this might be something more than a bunch of songs to put online for free,” he says. Carnevale soon enlisted bassist Richard Dotson as a producer, and the two bandmates set off to record at Carnevale’s grandmother’s cabin in Idyllwild, California.
March 13 street date. Since their 2013 self-titled debut, The Frights have embodied a carefree vulnerability, setting their most awkward and painful feelings to a wildly joyful surf-punk sound. On their fourth studio album Everything Seems Like Yesterday, the San Diego-based band twist that dynamic to deliver their most emotionally direct body of work to date: a collection of songs written and performed solely by frontman Mikey Carnevale, each track matching its stripped-back simplicity with both raw outpouring and intense reflection. Everything Seems Like Yesterday first took shape through a handful of songs Carnevale wrote on acoustic guitar back in fall 2018. “Hypochondriac was the first time I’d ever written that way, and it felt really therapeutic,” he says, referring to the band’s 2018 Epitaph debut. “It pushed me to get much more into the craft of songwriting—as opposed to mostly writing songs for people to mosh to—and it felt right to keep going with that on this record.” Carnevale originally intended to release this acoustic material as a solo album, but had a change of heart upon sharing his new songs at a series of shows in San Diego and L.A. “All the guys in the band came out and the response was pretty positive, so I started to think this might be something more than a bunch of songs to put online for free,” he says. Carnevale soon enlisted bassist Richard Dotson as a producer, and the two bandmates set off to record at Carnevale’s grandmother’s cabin in Idyllwild, California.
Please note new street date: May 29. 10 year anniversary vinyl reissue of "The Empyrean" by John Frusciante, cut from the original analog tapes at Bernie Grundman's mastering. Frusciante is an American guitarist, singer, composer, and producer, best known as the guitarist of the rock band Red Hot Chili Peppers, with whom he recorded five albums. Originally released in January of 2009, "The Empyrean" contains contributions from RHCP bandmate Flea and former guitarist of The Smiths, Johnny Marr. Includes hi res audio download card.
October 9 street date. Future Islands' sixth album "As Long As You Are" looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close. "As Long As You Are" also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing "As Long As You Are" with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.
October 9 street date. Future Islands' sixth album "As Long As You Are" looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close. "As Long As You Are" also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing "As Long As You Are" with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.
October 9 street date. Future Islands' sixth album "As Long As You Are" looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close. "As Long As You Are" also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing "As Long As You Are" with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.
October 9 street date. Future Islands' sixth album "As Long As You Are" looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close. "As Long As You Are" also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing "As Long As You Are" with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.
October 23 street date. Charles Moothart, Ty Segall and Chad Ubovich are Fuzz. Fuzz is three. And III has returned. Songs for all, and music for one. "III" was recorded and mixed at United Recording under the sonic lordship of Steve Albini. Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini's mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of "guitar-based music" and "rock and roll power trio" and puts them right out on the chopping block. It was a much more honest approach for the band - three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it's just about seeing how long one can hold on before getting thrown off.
October 23 street date. Charles Moothart, Ty Segall and Chad Ubovich are Fuzz. Fuzz is three. And III has returned. Songs for all, and music for one. "III" was recorded and mixed at United Recording under the sonic lordship of Steve Albini. Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini's mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of "guitar-based music" and "rock and roll power trio" and puts them right out on the chopping block. It was a much more honest approach for the band - three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it's just about seeing how long one can hold on before getting thrown off.
February 21 street date. France Gall was a prolifi c French vocalist and performer, remembered as one of the central fi gures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the fi rst authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. While France Gall had been releasing music since she was 16 it wasn’t until she took the Grand Prix at the 1965 Eurovision Song Contest with her rendition of Serge Gainsbourg’s “Poupée de Cire, Poupée de Son” that she would be catapulted to the top of the swinging yé-yé scene alongside the likes of Francoise Hardy, Sylvie Vartan and Bridgette Bardot. This record contains two of France’s most loved tracks, “Poupée de Cire” and “Laisse Tomber Les Filles” also penned by Gainsbourg. She recorded versions of the title track in French, German, Italian and Japanese and was now an international pop superstar. At the time France was dismissed by many as making fl uffy ultra commercial pop hits but her music stands the test of time far better than most, as not many were making music of this consistent high quality. Highly recommended. First ever U.S. pressing, on 180 gram vinyl no less.
February 21 street date. France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the fi rst authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. Baby Pop is not only an important album for France herself, it is also a hugely important record for the entire yé-yé scene. Baby Pop hinted at the musical direction that yé-yé was headed in much the same way Revolver and Pet Sounds did in the UK and USA. Baby Pop is more mature and varied than her earlier more bubblegum releases. You will still find a wonderfully cheesy tracks like “L’Amerique” here and there but with the impossibly infectious title track and songs like the Gainsbourg penned “Nous Ne Sommes Va-T’en” and the groovy Farfissa driven “Faut-Il que Je T’Aime” we welcome a new France Gall and say hello to some of the fi nest pop music ever released in French or any language. First ever U.S. pressing, on 180 gram vinyl no less.
February 21 street date. France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the fi rst authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. Without a doubt this is the weirdest France Gall record. 1968 dives further into the psychedelia that she was hinting at on Baby Pop. Even with addition of sitars and echoes of The Beatles, The Stones, The Kinks and Pet Sounds era Beach Boys all over this record it is still 100% French and could only have been made by France Gall. The addition of English expat producer/arranger, David Whitaker, brought a new and welcome airiness to the mix that was lacking on Gall’s earlier recordings. The album contains 2 of Serge Gainsbourg’s strangest and most out there arrangements, “Nefertiti” and “Teenie Weenie Boppie” about an LSD trip gone horribly wrong. 1968 is an absolutely essential addition to any record collection. First ever U.S. pressing, on 180 gram vinyl no less.
March 13 street date. THE GARDEN have been carving their own path since their formation in 2011. With 3 LP’s and 4 EP releases, they have become known musically for their fast, punk influenced jungle and DnB styles, and have consistently touring since 2013.While live, they are known for a mix of aggressive, unpredictable and trickster-ish tendencies - this new album, Kiss My Super Bowl Ring rivals the previous albums lyrically and sonically with an unmatched belligerence. The album is primarily self-produced, but includes tracks co-produced by the likes of Dylan Brady and Wharfwit, along with tracks featuring Ariel Pink and Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The album shows it’s first bit of skin with the opening track, “Clench To Stay Awake” - a track based off the experiences of both brothers mysterious health issues over the years. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo.
March 13 street date. THE GARDEN have been carving their own path since their formation in 2011. With 3 LP’s and 4 EP releases, they have become known musically for their fast, punk influenced jungle and DnB styles, and have consistently touring since 2013.While live, they are known for a mix of aggressive, unpredictable and trickster-ish tendencies - this new album, Kiss My Super Bowl Ring rivals the previous albums lyrically and sonically with an unmatched belligerence. The album is primarily self-produced, but includes tracks co-produced by the likes of Dylan Brady and Wharfwit, along with tracks featuring Ariel Pink and Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The album shows it’s first bit of skin with the opening track, “Clench To Stay Awake” - a track based off the experiences of both brothers mysterious health issues over the years. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo.
October 2 street date. On Gabriel Garzón-Montano's new record, there are no outside producers. No ghostwriters.No gimmicks. No games. Nadie más. Just Gabriel. This will come as no surprise to those who've followed GGM since 2014's "Bishouné: Alma Del Huila", the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's "Jardin", melded classical and folkloric instruments with r&b, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. "Agüita", his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. "Agüita" stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness.
October 2 street date. On Gabriel Garzón-Montano's new record, there are no outside producers. No ghostwriters.No gimmicks. No games. Nadie más. Just Gabriel. This will come as no surprise to those who've followed GGM since 2014's "Bishouné: Alma Del Huila", the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's "Jardin", melded classical and folkloric instruments with r&b, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. "Agüita", his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. "Agüita" stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness.
October 2 street date. On Gabriel Garzón-Montano's new record, there are no outside producers. No ghostwriters.No gimmicks. No games. Nadie más. Just Gabriel. This will come as no surprise to those who've followed GGM since 2014's "Bishouné: Alma Del Huila", the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's "Jardin", melded classical and folkloric instruments with r&b, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. "Agüita", his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. "Agüita" stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness.
October 9 street date. If you were to listen to Get Dead's album "Dancing With The Curse" before reading this, you would think it was written about the year 2020. Surprisingly, the band started recording it more than two years ago but it feels perfectly time for today. Look no further than the song "Pepperspray", written long before the protests of summer 2020. The band had begun collaborating with activist-artist collective Indecline on a video before the George Floyd protests erupted. While "Dancing With The Curse" features Get Dead's signature NorCal punk sound, balancing bombast with up-picked bounce and dirt-smudged acoustic songs, listeners will notice some curious moments. Subtle electronic flourishes lurk in some songs. The album opens with an atmospheric intro built on singer Sam King's gravelly voice and hip-hop-inflected cadence - a happy accident. These sonic detours suit a band that isn't known to stay in one place for too long. The conclusion of a long yet worthwhile journey, "Dancing With The Curse" is Get Dead's most self-assured album yet, one perfectly suited to the times: raw, energized, frustrated, but ultimately unbowed.
October 9 street date. If you were to listen to Get Dead's album "Dancing With The Curse" before reading this, you would think it was written about the year 2020. Surprisingly, the band started recording it more than two years ago but it feels perfectly time for today. Look no further than the song "Pepperspray", written long before the protests of summer 2020. The band had begun collaborating with activist-artist collective Indecline on a video before the George Floyd protests erupted. While "Dancing With The Curse" features Get Dead's signature NorCal punk sound, balancing bombast with up-picked bounce and dirt-smudged acoustic songs, listeners will notice some curious moments. Subtle electronic flourishes lurk in some songs. The album opens with an atmospheric intro built on singer Sam King's gravelly voice and hip-hop-inflected cadence - a happy accident. These sonic detours suit a band that isn't known to stay in one place for too long. The conclusion of a long yet worthwhile journey, "Dancing With The Curse" is Get Dead's most self-assured album yet, one perfectly suited to the times: raw, energized, frustrated, but ultimately unbowed.
June 5 street date. Los Angeles based outfit The Ghost Inside are poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band were involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. One line in "Aftermath" sums it all up: "triumph over tragedy".
June 5 street date. Los Angeles based outfit The Ghost Inside are poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band were involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. One line in "Aftermath" sums it all up: "triumph over tragedy".
June 5 street date. Limited opaque magenta coloured vinyl edition, exclusively available to independent shops. Los Angeles based outfit The Ghost Inside are poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band were involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. One line in "Aftermath" sums it all up: "triumph over tragedy".
Please note new street date: October 24 - RECORD STORE DAY DROP. This single LP version of "Piñata", the acclaimed rap album from 2014, is presented in a unique cover for RSD 2020. The cover is a collaboration between Jeff Jank and Pathetic Pixels with inspiration found in the unique graphics and content of 1970s Blaxploitation films. Piñata is "a gangster Blaxploitation film on wax", says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. This version of "Piñata" comes on the heels of the 2019 release of the duo's acclaimed album "Bandana", named album of the year by Hypebeast, Rap Caviar, and many others, and is a welcome reminder of the undeniable musical chemistry that first catalyzed 6 years ago, elevating Freddie Gibbs and Madlib to the upper echelon of the genre's teams.
Please note new street date: August 29 - RECORD STORE DAY DROP.I n November 2019, Girl Band played back to back sold out shows at Dublin’s iconic Vicar Street, this wasfollowing the release of long awaited second album ‘The Talkies’ hailed as ‘more abstract and more focused than their debut’ and a sold out East coast U.S & European tour. Recognised for their ferocious live shows which have been described as chaotic, electrifying and ‘genuinely dangerous, like one last rave before the apocalypse’, these shows were highly intimate and intensely sought after creating an air of ‘you had to be there’. This is their first ever Live vinyl and features tracks from their whole repertoire, some of which have only been performed a handful of times.
January 24 street date. "the first glass beach album" was initially self-released by the band in Spring 2019, but its roots date back to as early as 2015 - songwriter and band leader j mclendon started demoing songs for the album when they first moved to Los Angeles and spent three years polishing those first demos into these songs with bassist Jonas Newhouse and drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up "the first glass beach album" are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.
January 24 street date. Limited clear with blue and red splatter edition. "the first glass beach album" was initially self-released by the band in Spring 2019, but its roots date back to as early as 2015 - songwriter and band leader j mclendon started demoing songs for the album when they first moved to Los Angeles and spent three years polishing those first demos into these songs with bassist Jonas Newhouse and drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up "the first glass beach album" are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.
Please note new street date: October 16. In 1970, nine years after leaving the United States to study music in Canada, Beverly Glenn-Copeland released two self-titled albums. Both were a stunning showcase of classical and jazz accummen, layered with poetry and accompanied by some of the best players of the time. Original pressings now fetch thousands of dollars. Glenn-Copeland then vanished as a recording artist until his re-emergence in 1986 with the release (just a few hundred copies on cassette) of what many now believe to be his masterpiece, "Keyboard Fantasies". Thirty years later, revered Japanese record-collector Ryota Masuko came across one of those cassettes and went on a mission to turn other audiophiles onto Glenn-Copeland's work and to find the artist himself. Word spread and a cult following was quickly amassed. "Transmissions" is a career-spanning album that includes compositions from his early works and his cult-status release, "Keyboard Fantasies". It also includes both new and archival unreleased tracks and live versions.
Please note new street date: October 16. In 1970, nine years after leaving the United States to study music in Canada, Beverly Glenn-Copeland released two self-titled albums. Both were a stunning showcase of classical and jazz accummen, layered with poetry and accompanied by some of the best players of the time. Original pressings now fetch thousands of dollars. Glenn-Copeland then vanished as a recording artist until his re-emergence in 1986 with the release (just a few hundred copies on cassette) of what many now believe to be his masterpiece, "Keyboard Fantasies". Thirty years later, revered Japanese record-collector Ryota Masuko came across one of those cassettes and went on a mission to turn other audiophiles onto Glenn-Copeland's work and to find the artist himself. Word spread and a cult following was quickly amassed. "Transmissions" is a career-spanning album that includes compositions from his early works and his cult-status release, "Keyboard Fantasies". It also includes both new and archival unreleased tracks and live versions.
June 26 street date. Gordi recorded her upcoming album ‘Our Two Skins’ in an old cottage on her parents' farm in remote Canowindra. The album was completed with the assistance of Bon Iver production duo Chris Messina and Zach Hanson. Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they're a phone call away. But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you'll ever come to communing with that loved one again. On her new song "Sandwiches", Gordi harnesses all the sadness and glory of this feeling into a soaring, post-new wave anthem. One of the first true Gordi "guitar songs", it shimmers with the lush-yet-fragile momentum of The Cranberries' classic "Dreams".
June 26 street date. Gordi recorded her upcoming album ‘Our Two Skins’ in an old cottage on her parents' farm in remote Canowindra. The album was completed with the assistance of Bon Iver production duo Chris Messina and Zach Hanson. Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they're a phone call away. But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you'll ever come to communing with that loved one again. On her new song "Sandwiches", Gordi harnesses all the sadness and glory of this feeling into a soaring, post-new wave anthem. One of the first true Gordi "guitar songs", it shimmers with the lush-yet-fragile momentum of The Cranberries' classic "Dreams".
June 26 street date. Limited crisp white vinyl edition. Gordi recorded her upcoming album ‘Our Two Skins’ in an old cottage on her parents' farm in remote Canowindra. The album was completed with the assistance of Bon Iver production duo Chris Messina and Zach Hanson. Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they're a phone call away. But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you'll ever come to communing with that loved one again. On her new song "Sandwiches", Gordi harnesses all the sadness and glory of this feeling into a soaring, post-new wave anthem. One of the first true Gordi "guitar songs", it shimmers with the lush-yet-fragile momentum of The Cranberries' classic "Dreams".
Please note new street date: August 21. "Therapy With Colour" is the Constellation debut for composer and sound artist T. Gowdy, who has released three prior albums of exquisitely textured, predominantly ambient electronic music (most recently "Pachira Aquatica" via Shimmering Moods Records in 2019). His sublime audio/visual performances have featured at MUTEK (Montréal and Barcelona) and Spektrum (Berlin), alongside his ongoing work as an in-demand producer/engineer with over fifty album credits to date. Combining experimental electronics with elements of musique concrete, rhythmic grooves, and heady sonic atmospheres, "Therapy With Colour" is a brilliantly adventurous new offering from the forefront of Montréal's avant-garde electronic scene.
Please note new street date: August 21. "Therapy With Colour" is the Constellation debut for composer and sound artist T. Gowdy, who has released three prior albums of exquisitely textured, predominantly ambient electronic music (most recently "Pachira Aquatica" via Shimmering Moods Records in 2019). His sublime audio/visual performances have featured at MUTEK (Montréal and Barcelona) and Spektrum (Berlin), alongside his ongoing work as an in-demand producer/engineer with over fifty album credits to date. Combining experimental electronics with elements of musique concrete, rhythmic grooves, and heady sonic atmospheres, "Therapy With Colour" is a brilliantly adventurous new offering from the forefront of Montréal's avant-garde electronic scene.
July 24 street date. Epitaph Records is proud to announce the re-issue of Greg Graffin's long-out-of-print solo album from 1997. "American Lesion", which has been newly remastered, will be available on black vinyl. "Around the time of Bad Religion's "Gray Race" (1996), I was undergoing some unusual stress. A crisis of trust, friendship, and love beset my creative world. A divorce coincided with a trusted partner and friend leaving the band. I retreated to songwriting as an expression of some of my complicated emotions at the time," explains Greg Graffin. "This album, recorded and mixed in my home studio, was entirely my own creation, almost like an emotional experiment. I'm grateful to anyone who finds interest in the result and hope that maybe it will inspire others to value the healing properties of music during times of need."
August 21 street date. 25th anniversary vinyl edition of Guided By Voices' 1995 album "Alien Lanes". Inspired by the multicoloured drumhead featured on the album's artwork, this new edition is pressed on blue, green and red multicolored vinyl, making it the first non-exclusive colour vinyl edition of this release. Originally released on April 4, 1995, "Alien Lanes" served as the first Guided by Voices album to be released on Matador Records. "We were fearless at the time we recorded "Alien Lanes". That's why it bristles with insane energy and confidence.... we were proud to be putting out our first album on Matador and cock strutted accordingly. It cost us $10 to make. It's worth a million....God bless 1995 and open hearted record labels like Matador (and Scat before them) for allowing bands like us, with the preferred limited resources, to remove the constraints and pre-conceived notions of the more industry-minded constituents who would have much preferred we destroy the cassette master of "Alien Lanes" in the better interest of sound manufacturing and what's more agriculturally consumable. It's better to leave the farm than to continue plodding through the cow shit" - Robert Pollard 2020.
July 31 Street date (date change). Please note: this will no longer be a Record Store Day release. We are pleased to announce a new vinyl pressing of the classic Guided By Voices album, Vampire on Titus. Although there were several different pressings in the 1990s, this is the first since 1998. This edition features a new master cut at Golden, is packaged in a sturdy tip-on jacket, and includes Bob's original insert, now enlarged to a more readable size. A limited RSD quantity will be available on gold vinyl (colour change) (with a standard black edition forthcoming). Originally released in 1993, Vampire was not unique at that time in its 4 track recording methodology, but it was perhaps the first to garner major media attention. Many minds were blown, and a few were baffled enough to return the album to the store, believing the crude sound meant their copy was defective.
February 20 street date. (The most adventurous GBV album yet!!.. Featuring an exhilarating and dizzying trip to an inventive world of strange characters.) Starting off the year with a 100-song marathon in Los Angeles on New Year’s Eve, Robert Pollard is setting a mighty high bar for Guided By Voices in 2020. Following three acclaimed and stylistically distinct full-length albums in 2019, Surrender Your Poppy Field, is a head-spinning tour de force: a bit of everything... plus more! And hands down the most adventurous GBV album ever. There are lo-fi four-track tape recordings, there are songs recorded with a single microphone in a basement, there are big studio fully-produced hook-laden pop songs, and there is a lot in between. Seemingly, the guiding concept of Surrender Your Poppy Field was to make the songs sound as different from one another as possible: sudden shifts in mood, tempo and rhythm, unexpected chord progressions, false endings and codas, string orchestrations, mysterious voices... It’s an exhilarating and dizzying trip to an inventive world of strange characters: Andre the Hawk, Queen Parking Lot, the Cul-de-Sac Kids, the Hard Hitter, the Steely Dodger, the Stone Cold Moron, A Man Called Physician, A Man Called Blunder...Not content with their usual mastery of the 4 P’s (punk, pop, prog, psych) Professor Pollard pushes the envelope on Poppy Field, and continues to redefine GBV from a myriad of angles. Anyone who thinks that he’s gotten complacent after 104 albums hasn’t been paying attention! Don’t miss out.
February 20 street date. (The most adventurous GBV album yet!!.. Featuring an exhilarating and dizzying trip to an inventive world of strange characters.) Starting off the year with a 100-song marathon in Los Angeles on New Year’s Eve, Robert Pollard is setting a mighty high bar for Guided By Voices in 2020. Following three acclaimed and stylistically distinct full-length albums in 2019, Surrender Your Poppy Field, is a head-spinning tour de force: a bit of everything... plus more! And hands down the most adventurous GBV album ever. There are lo-fi four-track tape recordings, there are songs recorded with a single microphone in a basement, there are big studio fully-produced hook-laden pop songs, and there is a lot in between. Seemingly, the guiding concept of Surrender Your Poppy Field was to make the songs sound as different from one another as possible: sudden shifts in mood, tempo and rhythm, unexpected chord progressions, false endings and codas, string orchestrations, mysterious voices... It’s an exhilarating and dizzying trip to an inventive world of strange characters: Andre the Hawk, Queen Parking Lot, the Cul-de-Sac Kids, the Hard Hitter, the Steely Dodger, the Stone Cold Moron, A Man Called Physician, A Man Called Blunder...Not content with their usual mastery of the 4 P’s (punk, pop, prog, psych) Professor Pollard pushes the envelope on Poppy Field, and continues to redefine GBV from a myriad of angles. Anyone who thinks that he’s gotten complacent after 104 albums hasn’t been paying attention! Don’t miss out.
Please note new street date: September 4. When we last heard from Guided By Voices, they had released an astonishing four albums in just over 12 months. Now here is a sunny summer reprieve, a relentless barrage of hooks - "Mirrored Aztec: is the latest stop on this runaway train. Like its immediate predecessors, "Mirrored Aztec" is both its own entity and unmistakably GBV. It's also their most immediately welcoming and inviting offering in years - there's nothing a fan of The Who, Big Star, or Wire wouldn't love. It also contains some unprecedented GBV moments, too, like "Math Rock", an apparent tribute to the titular subgenre featuring classroom instruments and a children's choir. If Robert Pollard's discography - 107 albums and counting - seems intimidating, do not fear! With a brand-new, high-quality, all-the-waythere album every several months, it's abundantly clear that no band's fanbase has more fun.
Please note new street date: September 4. When we last heard from Guided By Voices, they had released an astonishing four albums in just over 12 months. Now here is a sunny summer reprieve, a relentless barrage of hooks - "Mirrored Aztec: is the latest stop on this runaway train. Like its immediate predecessors, "Mirrored Aztec" is both its own entity and unmistakably GBV. It's also their most immediately welcoming and inviting offering in years - there's nothing a fan of The Who, Big Star, or Wire wouldn't love. It also contains some unprecedented GBV moments, too, like "Math Rock", an apparent tribute to the titular subgenre featuring classroom instruments and a children's choir. If Robert Pollard's discography - 107 albums and counting - seems intimidating, do not fear! With a brand-new, high-quality, all-the-waythere album every several months, it's abundantly clear that no band's fanbase has more fun.
March 27 street date. Half Waif Nandi Rose is on her own again, and three songs into her forthcoming album The Caretaker , the singer, songwriter and producer declares her fearlessness: “Baby don’t worry about me, I don’t worry about you.” Here, on “Ordinary Talk,” Rose meditates on the heaviness of ordinary moments, the constellation of tears and chores and self-doubt and small talk that comprise being a person, accompanied by her most cinematic, pulsing arrangements to date. It’s an apt introduction to The Caretaker, an ax-lbum that negotiates the space between working alone and with others, between isolation and connection. The result is her boldest work yet. Over the course of eleven songs, Rose creates the lush world of a humid summer night, dreaming of and reaching for a season in which she is her “best self.”
March 27 street date. Half Waif Nandi Rose is on her own again, and three songs into her forthcoming album The Caretaker , the singer, songwriter and producer declares her fearlessness: “Baby don’t worry about me, I don’t worry about you.” Here, on “Ordinary Talk,” Rose meditates on the heaviness of ordinary moments, the constellation of tears and chores and self-doubt and small talk that comprise being a person, accompanied by her most cinematic, pulsing arrangements to date. It’s an apt introduction to The Caretaker, an ax-lbum that negotiates the space between working alone and with others, between isolation and connection. The result is her boldest work yet. Over the course of eleven songs, Rose creates the lush world of a humid summer night, dreaming of and reaching for a season in which she is her “best self.”
October 23 street date. "Winter Is For Lovers" was a lifetime in the making... a solo lap-steel guitar piece incorporating elements of delta blues, flamenco, and even Satie-like minimalism, this work resonates with lyrical virtuosity, originality and soul. In some ways "Winter Is For Lovers" is a love letter to Ben Harper's longtime fans who have always revered his guitar virtuosity; it's the record they always wanted him to make. For many other music lovers, this record is a revelation, an unknown side to a a celebrated artist showing a sense of meticulousness, depth and music history that will add new dimensions to an already renowned career. As a child, before Ben Harper was even playing music, he sat at the feet of folk luminaries like Rev. Gary Davis, John Fahey, Ry Cooder and others in his grandparents' Folk Music Center in Claremont, CA, soaking up their influence and passion for pure guitar music. As a teenager, while discovering his own musical gifts, he was repairing guitars and being mentored by many of these artists, most notably, Taj Mahal. While his musical path has taken him to worldwide fame playing rock and roll, and many other idioms, that pure guitar music has always been central to his musical heart. Ultimately, "Winter Is For Lovers" is a very personal statement from Ben Harper, drawing from the bountiful garden of his earliest musical impressions and propelling him into the future with an elegiac masterpiece.
September 11 street date. The Heliocentrics' albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy Krautrock, they have pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. They have been playing together for nearly two decades and their collective drive is to find an individual voice. With Madilb's label Madlib Invazion for "Telemetric Sounds", the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences - Latin, African, and more.
September 11 street date. The Heliocentrics' albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy Krautrock, they have pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. They have been playing together for nearly two decades and their collective drive is to find an individual voice. With Madilb's label Madlib Invazion for "Telemetric Sounds", the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences - Latin, African, and more.
February 14 street date. The UK's cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib's label, Madlib Invazion. The Heliocentrics' albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy Krautrock, they have - regardless of the label on which they've released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today's musical climate, searching, progressive humans who are often out-of-time with current trends. The Heliocentrics search for an individual in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and "ethnic" music all revolve around "The One". With "Infinity Of Now", the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences - Latin, African, and more.
February 14 street date. The UK's cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib's label, Madlib Invazion. The Heliocentrics' albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy Krautrock, they have - regardless of the label on which they've released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today's musical climate, searching, progressive humans who are often out-of-time with current trends. The Heliocentrics search for an individual in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and "ethnic" music all revolve around "The One". With "Infinity Of Now", the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences - Latin, African, and more.
Please note new street date: October 23. UK electronic artpop outfit Hot Chip provide the perfect antidote to these strange and uncertain times with the latest release in the hugely popular LateNightTales artist-curated series. Along with featuring new music from the band, they have selected music from some of the most engaging artists of the 21st century, taking in pulsating electronic rhythms, hypnotic grooves and leftfield ambience. Artists include Matthew Bourne, Nils Frahm, Fever Ray, Kaitlyn Aurelia Smith, and many more.
Please note new street date: October 23. UK electronic artpop outfit Hot Chip provide the perfect antidote to these strange and uncertain times with the latest release in the hugely popular LateNightTales artist-curated series. Along with featuring new music from the band, they have selected music from some of the most engaging artists of the 21st century, taking in pulsating electronic rhythms, hypnotic grooves and leftfield ambience. Artists include Matthew Bourne, Nils Frahm, Fever Ray, Kaitlyn Aurelia Smith, and many more. The 2LP edition is pressed on double 180 gram virgin vinyl and includes 30cm art print and download codes for MP3 / FLAC / WAV.
September 26 street date. Translucent blue RSD edition! Tastemakers and fans alike have found HUNNY to be a perfect mix of post-punk tinged pop and their childhood influences like Prince and The Cure. The result is a sound that feels uniquely them. With a few more years and more material under their belt, HUNNY has gained fans across the globe by touring with the likes of The Neighbourhood, Beach Slang, The Frights and more. This is just the start of a long and promising career for HUNNY. HUNNY is front man Jason Yarger, guitarist Jake Goldstein, bassist/keyboardist Kevin Grimmett, and drummer Joey Anderson.
October 9 street date. Nashville-based performer Jeremy Ivey has operated in the background for years as a songwriter/guitarist with his wife, celebrated country-rock luminary Margo Price. Ivey is back in the spotlight with his sophomore solo album "Waiting Out The Storm" via Anti- Records. Produced by Price, the ten-song album finds Jeremy Ivey expanding his sound with his band the Extraterrestrials. On "Waiting Out The Storm", an album with electricity coursing through its veins, Ivey zooms out to take a widescreen look at the world around us - the landscape, the people that populate it, and the ways in which we help each other survive against all odds. Ivey, who writes prolifically and cites Leonard Cohen and Bob Dylan as influences, evokes "‘Mutations’-era Beck along with classic country" (Rolling Stone). His solo material travels through a wide spectrum of classic folk, gently frayed psychedelia, pop, and a bit of Southern rock.
August 29 Record Store Day Drop. Once Upon A Time: The Lost 1965 New York Studio Sessions is a previously-unissued release of studio recordings from pianist Bob James captured with no audience at Wollman Auditorium at Columbia University in New York City in 1965 by Resonance founder and co-president George Klabin. This limited-edition (of 5,000 copies worldwide) 180g LP features James in two different trio settings — one from January 20, 1965 with bassist Larry Rockwell and drummer Bob Pozar, and one from October 9, 1965 with bassist Bill Wood and drummer Omar Clay — performing a mix of jazz standards and original compositions. The title track "Once Upon A Time" was named by James as an homage to the ONCE Festival of New Music in Ann Arbor, MI which ran from 1961-1966 and holds a special place in his early musical career. The deluxe gatefold set includes an extensive booklet with essays by jazz writer Mark Stryker (Jazz from Detroit) and engineer George Klabin; new interviews with Bob James and Makoto Ozone, and a 2011 interview with Bob Pozar by Hank Shteamer (Rolling Stone); plus rare archival photographs by Tom Copi. Mastered by Bernie Grundman, cut at 33 1/3 RPM and pressed by RTI.
Please note new street date: May 29. One of the year's most talked about and sought after club tracks, Jamie xx releases "Idontknow", his first solo artist release since his highly acclaimed BRIT and GRAMMY® nominated 2015 debut album "In Colour". Without knowing the artist behind it, people have been raving to "Idontknow" since late autumn 2019 when Jamie first debuted the track. Since then, the track has taken on a life of its own in clubs and on dancefloors around the world, garnering huge support from the likes of Ben UFO, Four Tet, Caribou, HAAi and Bicep, or via Jamie's own residency on NTS Radio and the series of last minute, word-of-mouth parties he threw in aid of the MIND and CALM charities at north London’s the Cause (where he was joined by the likes of Four Tet, HAAi and Koreless) and beyond. Now "Idontknow" gets a 12" release, available exclusively via independent retailers. It comes hot on the heels of Jamie's recent collaboration with Headie One and Fred again.. on "Smoke" from their acclaimed GANG mixtape.
Please note new street date: June12. Jamo Gang consists of L.A. legend Ras Kass, NYC veteran emcee El Gant, and J57 on production. The trio's debut album "Walking With Lions" features DJ Premier, Slug from Atmosphere, Sid Wilson from Slipknot, Sick Jacken from Psycho Realm, and Slaine from La Coka Nostra. The album embodies head-nodder boom-bap infused with big sounding, lush soundscapes as Ras Kass and El Gant command the listener's attention, speaking on subject matter ranging from school shootings to what life would be like with a nuke arriving in 38 minutes.
Please note new street date: June12. Jamo Gang consists of L.A. legend Ras Kass, NYC veteran emcee El Gant, and J57 on production. The trio's debut album "Walking With Lions" features DJ Premier, Slug from Atmosphere, Sid Wilson from Slipknot, Sick Jacken from Psycho Realm, and Slaine from La Coka Nostra. The album embodies head-nodder boom-bap infused with big sounding, lush soundscapes as Ras Kass and El Gant command the listener's attention, speaking on subject matter ranging from school shootings to what life would be like with a nuke arriving in 38 minutes.
May 8 street date. Jarv Is is a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) and Adam Betts (drums, percussion, vocals). "House Music All Night Long" is a straightforward love song about someone stuck alone in the house whilst the object of their affections is out dancing to House music at a rave. "We first performed this at the All Points East festival in Victoria Park in May 2019. The crowd reaction was so positive that I was inspired to do my first-ever bit of crowd-surfing (which I enjoyed so much that I have repeated it a couple of times since). We played the song throughout the summer & eventually recorded it after our final performance of the year at the End of the Road festival on September 4th". From the forthcoming album "Beyond The Pale", scheduled for Sept. 4 release.
July 17 street date. Jarv Is are pleased to announce their debut album "Beyond The Pale". Jarv Is is a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals). Jarv Is was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux, the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak>) suggested that these recordings could be used as the basis for an album. Jarv Is an ongoing live experience because life is an ongoing live experience. Or, to put it another way: THIS IS NOT A LIVE ALBUM - it's an ALIVE ALBUM.
July 17 street date. Jarv Is are pleased to announce their debut album "Beyond The Pale". Jarv Is is a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals). Jarv Is was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux, the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak>) suggested that these recordings could be used as the basis for an album. Jarv Is an ongoing live experience because life is an ongoing live experience. Or, to put it another way: THIS IS NOT A LIVE ALBUM - it's an ALIVE ALBUM.
July 17 street date. Jarv Is are pleased to announce their debut album "Beyond The Pale". Jarv Is is a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals). Jarv Is was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux, the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak>) suggested that these recordings could be used as the basis for an album. Jarv Is an ongoing live experience because life is an ongoing live experience. Or, to put it another way: THIS IS NOT A LIVE ALBUM - it's an ALIVE ALBUM.
July 17 street date. Jarv Is are pleased to announce their debut album "Beyond The Pale". Jarv Is is a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals). Jarv Is was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux, the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak>) suggested that these recordings could be used as the basis for an album. Jarv Is an ongoing live experience because life is an ongoing live experience. Or, to put it another way: THIS IS NOT A LIVE ALBUM - it's an ALIVE ALBUM.
September 4 street date. On the cusp of releasing his first-ever solo album, "Every Feeling On A Loop", songwriter Josiah Johnson is aware he wasn't supposed to be here. Just five years ago when he took a leave of absence from the acclaimed indie-folk band, The Head and the Heart, the question was less where Johnson's star would take him and more whether his struggles with addiction would end his music career. The Head and the Heart's rise was rapid. They built a loyal fanbase and zigzagged the globe, and their 2011 self-titled debut went on to receive RIAA Gold certification, followed by 2013's "Let's Be Still", which landed on Billboard's Top 10 Albums Chart. On "Every Feeling On A Loop", lush musical arrangements and harmonies support Johnson's baritone crooning. At times, the songs sound like prayers. At others, his exuberance feels like the euphoria he'd always sought, this time hard-earned and wiser. He says he feels like a new person making it, charting his journey out of the dark into the wide awake of the morning, using the magic that was his all along.
Please note new street date: May 29. Caleb Landry Jones' debut solo album is a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. What you can hear on this record are the marks left by conversion experiences, two in particular. First there’s Jones' formative encounter with the Beatles' "White Album", the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls "this British Invasion of my soul", which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the "falling-down-the-stairs" quality of his solo work in particular.
Please note new street date: May 29. Caleb Landry Jones' debut solo album is a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. What you can hear on this record are the marks left by conversion experiences, two in particular. First there’s Jones' formative encounter with the Beatles' "White Album", the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls "this British Invasion of my soul", which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the "falling-down-the-stairs" quality of his solo work in particular.
Please note new street date: May 29. Baby blue vinyl edition, limited to 1500 copies. Caleb Landry Jones' debut solo album is a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. What you can hear on this record are the marks left by conversion experiences, two in particular. First there’s Jones' formative encounter with the Beatles' "White Album", the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls "this British Invasion of my soul", which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the "falling-down-the-stairs" quality of his solo work in particular.
September 18 street date. Joyce Manor return with "Songs From Northern Torrance": a collection of b-sides and alternate versions of fan favorites pulled from the band's personal archives. The album kicks off with "House Warning Party", a one-minute blast of lo-fi goodness that offers a glimpse into the band's humble beginnings as a two-piece folk-punk outfit. Lyrics of suburban angst forge with upbeat drums and swift, jangly guitars that make it impossible to not bounce your head along to. As a band who have come to define West Coast indie-punk, Joyce Manor remains one of the most popular bands in the genre and this track is a rarity their fans will surely love.
March 13 street date. Free-thinking Nova Scotia composer, musician and visual artist Jay Crocker (aka JOYFULTALK) channels Minimalism, Japanese environmental music, Maghrebian rhythmic modes and other numinous folkways to create his most focused, vibrant work to date. Based on a monumental, kaleidoscopic graphic score, "A Separation Of Being" is translated from two-dimensional page to trans-dimensional aural life using an array of homemade instruments, crowned with a majestic string arrangement written by Crocker and performed by Polaris and Juno winner Jesse Zubot (Tanya Tagaq, Destroyer). This three-part suite is airtight; interlocking arcs of polyrhythmic deep groove and new minimalism roll out in spellbinding propulsion, the music gathering its warmth from the strings and its peculiarities from Crocker's bespoke instrumentation and analog clockworks. Album packaging on CD and audiophile 180g LP features details on the outer jacket cover art, and a reproduction of the full score on the inside gatefold, and as an exquisite 12" x 24" pull-out art print, respectively.
March 13 street date. Free-thinking Nova Scotia composer, musician and visual artist Jay Crocker (aka JOYFULTALK) channels Minimalism, Japanese environmental music, Maghrebian rhythmic modes and other numinous folkways to create his most focused, vibrant work to date. Based on a monumental, kaleidoscopic graphic score, "A Separation Of Being" is translated from two-dimensional page to trans-dimensional aural life using an array of homemade instruments, crowned with a majestic string arrangement written by Crocker and performed by Polaris and Juno winner Jesse Zubot (Tanya Tagaq, Destroyer). This three-part suite is airtight; interlocking arcs of polyrhythmic deep groove and new minimalism roll out in spellbinding propulsion, the music gathering its warmth from the strings and its peculiarities from Crocker's bespoke instrumentation and analog clockworks. Album packaging on CD and audiophile 180g LP features details on the outer jacket cover art, and a reproduction of the full score on the inside gatefold, and as an exquisite 12" x 24" pull-out art print, respectively.
August 28 street date. Electronic duo Kaleida release their first new music since 2017, their sophomore album Odyssey. An 8-track collection documenting the pairs’ journeys over the past 3 years, made after a period of Cicely and Christina living on opposite sides of the Atlantic. It is a body of work brimming with sophistication, irresistible melodies and a musical point of view distinctly their own that has already built Kaleida a large and dedicated global fanbase. Limited Edition of 500 units WW on Dove Grey 180g Vinyl. Debut single 'Think' was featured in the first John Wick film, and they recorded a version of 99 Luftballons for the Atomic Blonde soundtrack.
August 28 street date. Electronic duo Kaleida release their first new music since 2017, their sophomore album Odyssey. An 8-track collection documenting the pairs’ journeys over the past 3 years, made after a period of Cicely and Christina living on opposite sides of the Atlantic. It is a body of work brimming with sophistication, irresistible melodies and a musical point of view distinctly their own that has already built Kaleida a large and dedicated global fanbase. Limited Edition of 500 units WW on Dove Grey 180g Vinyl. Debut single 'Think' was featured in the first John Wick film, and they recorded a version of 99 Luftballons for the Atomic Blonde soundtrack.
June 26 street date. Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night.
June 26 street date. Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night.
February 7 street date. It'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. On "Texas Sun", these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you.
February 7 street date. It'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. On "Texas Sun", these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you.
January 17 street date. Kid Dynamite’s first album was, and always will be a masterpiece. It will influence hardcore bands down the line. Hell, it probably already has. If you loved Lifetime, you’ll love this. Or, if you’re just looking for a good hardcore listen, pick this up. You’ll thank me.” - PunkNews.org
January 17 street date. (LIMITED EDITION – CLEAR W/ BLACK SMOKE LP) Kid Dynamite’s first album was, and always will be a masterpiece. It will influence hardcore bands down the line. Hell, it probably already has. If you loved Lifetime, you’ll love this. Or, if you’re just looking for a good hardcore listen, pick this up. You’ll thank me.” - PunkNews.org
February 7 street date. Shorter, Faster, Louder is a fine sophomore album, refining the aggression and intelligence of Kid Dynamite’s debut while upping the adrenaline rush of the music ever so slightly. That said, all of the hallmarks in the band’s East Coast hardcore punk sound are still very much in place. Fans who enjoyed the first album will undoubtedly relish this one too, especially in light of the unfortunate fact that it’s Kid Dynamite’s last -- just prior to Shorter, Faster, Louder release, vocalist Jason Shevchuk departed to pursue a film career, and the remainder of the band elected to break up. - STEVE HUEY / ALL MUSIC GUIDE
February 7 street date. Shorter, Faster, Louder is a fine sophomore album, refining the aggression and intelligence of Kid Dynamite’s debut while upping the adrenaline rush of the music ever so slightly. That said, all of the hallmarks in the band’s East Coast hardcore punk sound are still very much in place. Fans who enjoyed the first album will undoubtedly relish this one too, especially in light of the unfortunate fact that it’s Kid Dynamite’s last -- just prior to Shorter, Faster, Louder release, vocalist Jason Shevchuk departed to pursue a film career, and the remainder of the band elected to break up. - STEVE HUEY / ALL MUSIC GUIDE
March 6 street date. The first King Crimson release of 2020 is the Expanded Version of the 1970 release Cat Food. 50th anniversary edition of King Crimson’s first non-album single. Expanded to a 4 track EP & issued on 10” vinyl & CD. Features Cat Food (single version) & Groon (original single B-side). Features a live version of Cat Food performed by the current line-up in Toronto in September 2019. Included is an alternate mix of the album version of Cat Food prepared by David Singleton as part of the KC50 digital series. Artwork derived from Peter Sinfield’s original 7” sleeve art. Cut by Jason Mitchell at Loud Mastering.
March 6 street date. The first King Crimson release of 2020 is the Expanded Version of the 1970 release Cat Food. 50th anniversary edition of King Crimson’s first non-album single. Expanded to a 4 track EP & issued on 10” vinyl & CD. Features Cat Food (single version) & Groon (original single B-side). Features a live version of Cat Food performed by the current line-up in Toronto in September 2019. Included is an alternate mix of the album version of Cat Food prepared by David Singleton as part of the KC50 digital series. Artwork derived from Peter Sinfield’s original 7” sleeve art. Cut by Jason Mitchell at Loud Mastering.
September 11 street date. 2CD history of King Crimson featuring many extracts & tracks appearing on CD for the first time, including many by the current line-up. Packaged in DVD sized fold out digi-pack style book case with 24 page booklet. Originally prepared for now postponed concert venue sales on King Crimson's USA 2020 tour. Introductory notes by Robert Fripp, sleeve notes by Sid Smith. As usual, the two discs aim to cover the full spectrum of Crimsonising with music and line-ups from 1969-2019. Disc one presents a mostly live/mostly new to CD selection of material including four tracks taken from the 2019 tour. So, while in keeping with the spirit of earlier releases in the series, this is also a very different tour-box to its companions, and one which, as it has to stand alone and represent a tour that should have been/will be, also stands slightly apart.
Man Alive!, now out via TruePanther/Matador Records. (Available on CD, standard black vinyl, indie record store exclusive red vinyl.) Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with his new, wondrous long-player, Man Alive!. * It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions. * The album was written as a direct reaction to the non-stop energy of touring The Ooz, and then partly recorded at Shrunken Heads in Marshall's native stamping ground of Nunhead, with Ooz co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.
Man Alive!, now out via TruePanther/Matador Records. (Available on CD, standard black vinyl, indie record store exclusive red vinyl.) Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with his new, wondrous long-player, Man Alive!. * It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions. * The album was written as a direct reaction to the non-stop energy of touring The Ooz, and then partly recorded at Shrunken Heads in Marshall's native stamping ground of Nunhead, with Ooz co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.
King Krule has released Man Alive! via TruePanther/Matador Records. (Available on CD, standard black vinyl, indie record store exclusive red vinyl.) Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with his new, wondrous long-player, Man Alive!. * It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions. * The album was written as a direct reaction to the non-stop energy of touring The Ooz, and then partly recorded at Shrunken Heads in Marshall's native stamping ground of Nunhead, with Ooz co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.
Please note new street date: May 15. Features guest appearances from members of Gwar, Three 6 Mafia, Dwarves, Lost Dog Street Band, and more!! Highlighting the artist’s singular lyrical attack, Space Goretex is the first album combining all of KOOL KEITH’s primary personas – Dr. Octagon, Dr. Dooom and Black Elvis. The instrumentation is primarily comprised of bass, drums, theremin, and synth, performed by THETAN’s Chad L’Plattenier and Dan Emery. The album also includes some special guest appearances, including Gangsta Boo (Three 6 Mafia) who performs as Officer Lola. Casey Orr (Gwar, X-Cops) appears as his X-Cops character Sheriff Tubb Tucker, marking the first time he has recorded anything as this character since 1996. Blag Dahlia from the Dwarves provides a monologue alongside Ashley Mae of Lost Dog Street Band and DJ Black Cat Sylvester, inventor of the Synth-Table. Blowfly’s right-hand man Uncle Tom Bowker also makes an appearance. Space Goretex was recorded by Dan Emery and Fred Ones, and all post-production and mastering handled by Emery at Black Matter Mastering (Buzzov*en, Lost Dog Street Band, Krieg). The album’s cover art was created by Ethan Lee McCarthy (Primitive Man, Many Blessings). . . Since the mid-1980s, KOOL KEITH has been an icon in the hip-hop world, as one of the founders of the Ultramagnetic MC’s. Following that act’s departure, he began a long career, releasing an extensive arsenal of albums, singles, and much more since the mid-1990s, including collaborations with Ice-T, Tim Dog, Dan The Automator, and many others. THETAN has been grinding out their pummeling powerviolence/hardcore since 2011, most of the time as the stripped-down two-piece lineup of drummer Chad L’Plattenier and bassist/vocalist Dan Emery the band currently bears. The band has issued two LPs, several singles and EPs, splits with the likes of Bleed The Pigs, Downpour, Bible Thumper, and others along the way. Album trailer available here https://youtu.be/BYMaLV2lNbI
Please note new street date: June 12 (delayed). When considering any great work of art, be it a painting, a novel, or a piece of music, it's natural to wonder what might have inspired it. Mark Lanegan's new album, "Straight Songs Of Sorrow", features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and more, These 15 songs are inspired his life story, as documented in his new memoir, "Sing Backwards And Weep". The book is a brutal, nerve-shredding read, thanks to Lanegan's unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the '90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. While the memoir documents a struggle to find peace with himself, his new album emphasizes the extent to which he came to realize that music is his life.
Please note new street date: June 12 (delayed). When considering any great work of art, be it a painting, a novel, or a piece of music, it's natural to wonder what might have inspired it. Mark Lanegan's new album, "Straight Songs Of Sorrow", features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and more, These 15 songs are inspired his life story, as documented in his new memoir, "Sing Backwards And Weep". The book is a brutal, nerve-shredding read, thanks to Lanegan's unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the '90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. While the memoir documents a struggle to find peace with himself, his new album emphasizes the extent to which he came to realize that music is his life.
July 31 street date. ‘All The Time’, Jessy Lanza's first album since 2016's ‘Oh No’, is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in ‘Anyone Around’, subtle footwork flutter giving a nervous energy to ‘Face’, unusual underwater rushes underpinning ‘Baby Love’. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like ‘Ice Creamy’ and gestural sounds seem to respond to her lyrics in songs such as ‘Like Fire’, which reward the listener on repeated plays. More than previous albums, the lyrics on ‘All The Time’ became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. ‘All The Time’ has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.
July 17 street date. The Lawrence Arms are a lot of things but predictable isn't one of them. Since forming in Chicago in 1999, the trio of bassist/vocalist Brendan Kelly, guitarist/vocalist Chris McCaughan and drummer Neil Hennessy have never broken up or become a nostalgia act, choosing instead to make albums that continually challenge the boundaries of their sound. In the process they've carved out a distinctive identity in the punk community that's simultaneously gritty, beautiful, melodic and mutinous. Although it was written and recorded before the Coronavirus upended the world, the band's seventh full-length "Skeleton Coast" sounds eerily prescient as it imagines an apocalyptic future where coyotes croon and wolf packs roam free. "For a band who has been around as long as us, this is about as urgent of a record as we could make," Kelly explains. "It may be kind of dark but it's really about searching for light in the darkness and finding it, as small as those moments may seem. That's sort of where we're at: collecting the scraps of things that could make for a bearable existence in dark times."
July 17 street date. After completing his previous projects "Postcards" and "Ghostwriting", Jens Lekman came up with a new idea. He asked fellow Swedish songwriter Annika Norlin (Hello Saferide, Säkert!) to join him. The idea was that throughout the year of 2018, the two of them would correspond through music. Each month, one of them would write a song and the next month, the other one would reply. The rules were simple - one letter each month throughout the year - in total, six songs for Jens and six for Annika. Only one instrument could be used for each song. This was TO help them focus on the songs/letters instead of the production. "Correspondence" gave Jens and Annika an outlet for more spontaneous ideas, and they decided to stay under the radar by only releasing the songs on the "Correspondence" website, and a Spotify playlist. Most of the time they forgot that anyone else could hear the songs, and they turned out very personal. As the project came to an end, Jens and Annika listened through the songs and felt pleased with the results. An epistolary novel in the form of twelve folk songs. Jens wrote string arrangements for half of the songs and brought in violinist Ellen Hjalmarsson and cellist Petra Lundin. For the first time since the digital release, their correspondence will be released on vinyl.
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The Digest 
Black Market Brass
King Krule
