The group's third studio release, Buhloone Mindstate released on September 21, 1993,�saw the group evolve into a new sound as they continued to grow stylistically and musically. There were several moments on the album which proved the band had matured. "I Be Blowin'" was a departure as the track was an instrumental featuring saxophone playing by Maceo Parker. The introspective "I Am I Be" showed de la Soul at their most self-referential to date. "Long Island Wildin'" was a collaboration with Japanese hip hop artists Kan Takagi (Major Force) and trio Scha Dara Parr (SDP). The album's first single, "Breakadawn", used a sample of Michael Jackson's "I Can't Help It" and Smokey Robinson's "Quiet Storm". de La Soul collaborated for the first time with Gang Starr's Guru on "Patti Dooke", and female MC Shortie No Mas who was prominent on many tracks on the album and showcased particularly on "In The Woods". The album ended with an old school Biz Markie collaboration called "Stone Age".

In a time when the popular choice is to chase the double yellow line down the road to country radio, Boy Named Banjo thrives on its fringes. The Nashville-raised five-piece is a fusion of contemporary country, Americana and folk-rock stacked on a foundation of bluegrass. The band, which has been together in some iteration since members were in high school, includes Barton Davies (banjo), Ford Garrard (bass/standing bass), Sam McCullough (drums) Willard Logan (mandolin, acoustic/electric guitar) and William Reames (acoustic guitar/harmonica). Reames and Logan played in a middle school garage rock band together, but it wasn't until Reames met Davies in high school that Boy Named Banjo started taking shape. Garrard and McCullough joined later and together the five guys comprise the band Boy Named Banjo that we know today. Boy Named Banjo has crafted a sound that incorporates an energetic blend of country, bluegrass, alt-rock, and folk-pop telling their stories through an honest, emotional, roots-driven perspective. In April 2020, Boy Named Banjo signed a record deal with Mercury Records Nashville and released their debut EP, Circles, the following year. Boy Named Banjo spent 2022 on the road playing some of country music�s largest festivals including Dierks Bentley�s Seven Peaks and Country Jam, Kip Moore�s Fire on Wheels Tour, they made their CMA Fest debut playing at the Ascend Amphitheatre Nighttime Concert, and played a sold-out hometown show at Nashville�s Brooklyn Bowl. The band most recently released the tracks �Heart In Motion� and �Heart Attack,� and is currently prepping its next project to be released in spring of this year.

A Wednesday song is a quilt. A short story collection, a half-memory,�a patchwork of portraits of the American south, disparate moments�that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as�much as she is a storyteller: a scholar of people and one-liners. Rat�Saw God, the Asheville quintet�s new and best record, is ekphrastic but�autobiographical and above all, deeply empathetic. Across the album�s ten�tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer�Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to�minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling�somewhere between the wailing skuzz of Nineties shoegaze and classic�country twang, that distorted lap steel and Hartzman�s voice slicing�through the din.

Rat Saw God is an album about riding a bike down a suburban stretch�in Greensboro while listening to My Bloody Valentine for the first time on�an iPod Nano, past a creek that runs through the neighborhood riddled�with broken glass bottles and condoms, a front yard filled with broken�and rusted car parts, a lonely and dilapidated house reclaimed by kudzu.�Four Lokos and rodeo clowns and a kid who burns down a corn field.�Roadside monuments, church marquees, poppers and vodka in a plastic�water bottle, the shit you get away with at Jewish summer camp, strange�sentimental family heirlooms at the thrift stores. The way the South hums�alive all night in the summers and into fall, the sound of high school�football games, the halo effect from the lights polluting the darkness. It�s�not really bright enough to see in front of you, but in that stretch of inky�void � somehow � you see everything.

The songs on Rat Saw God don�t recount epics, just the everyday.�They�re true, they�re real life, blurry and chaotic and strange � which is�in-line with Hartzman�s own ethos: �Everyone�s story is worthy,� she says,�plainly. �Literally every life story is worth writing down, because people�are so fascinating.�

Avenged Sevenfold�s new album, Life Is But A Dream is a timeless work of art that blurs genres. Best served as a whole and consumed en masse to truly appreciate its musical breadth and sonic depth, it marks their boldest statement and most revolutionary work to date. Written and recorded over the span of 4 years, it was produced by Joe Barresi and Avenged Sevenfold in Los Angeles and mixed by Andy Wallace in the Poconos, PA. Inspired by Albert Camus� The Stranger, the album is a journey through an existential crisis; a very personal exploration into the meaning, purpose and value of human existence with the anxiety of death always looming. Immerse into this experience�

Last year�s Big Time brought Angel Olsen to a deeper, truer sense�of self than ever before. Borne from the twin stars of grief and love,�the album delivered beautiful sense of certainty, the sure-footed sound�of an artist fully, finally at home with herself. But within that wisdom�comes the realization that there is no finish line, no destination or static�end point to life while you�re living it, and Forever Means collects songs�from the Big Time sessions that hold this common theme. They are, in�Olsen�s words, �in search of something else.�

�I was somewhere traveling,� says Olsen, �stopped for a few days and�wandering the city, and I was thinking �what does �forever� really mean?�What are the things I�m seeking in friendship or love, and how can��forever� be attainable if we�re always changing?�� Sitting with the reality�of that entropy, Olsen realized �maybe the secret to ongoing love is to�embrace change as part of love itself, that forever must have something�to do with playing, looking, constantly searching things out for yourself,�never letting yourself think you�re finished learning or exploring.�

Forever, says Olsen, �remains curious while trying also to be kind�and honest.�

All this packs into the four precious songs that comprise Forever�Means, songs from Olsen�s roads traveled and the ones ahead.��Nothing�s free / like breaking free� Olsen sings, comfortable with the�costs of her clarity, her heart and voice fixed on the present, the future,�the not-yet-known and the beautifully unknowable.

Neil Young and The Santa Monica Flyers
The Legendary Tonight�s The Night Tour
The Rainbow Theatre - London, England�
November 5, 1973
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Neil Young and the Santa Monica Flyers (Neil Young, Nils Lofgren, Ben Keith, Billy Talbot, Ralph Molina) played London�s Rainbow Theatre on November 5th, 1973, with the first half of the concert dedicated to Neil Young�s masterpiece album Tonight�s The Night. The intense concert was recorded by Pete Long, and includes riveting versions of the Tonight�s The Night tracks, plus Young classics �Cowgirl In The Sand�, �Don�t Be Denied� and �Flying On The Ground Is Wrong�. (2 LP, 2 CD)

Neil Young - Guitar, Vocals�
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The Santa Monica Flyers:
Nils Lofgren - lead and rhythm guitars, piano, accordion, vocals
Ben Keith - steel guitar, vocals
Billy Talbot - bass, vocals
Ralph Molina � drums, vocals

Recorded by Pete Long at The Rainbow Theatre, London, November 5, 1973
Mixed and Mastered by The Volume Dealers: Neil Young and Niko Bolas

�I was finally able to trust myself fully,� says Indigo De�Souza of making her masterful third album�All�of This Will End.�Across 11 its songs, the LP�is a raw and radically optimistic work�that grapples with mortality, the rejuvenation that community brings, and the�importance of centering yourself now. These tracks come from the most resonant�moments of her life: childhood memories, collecting herself in parking lots,�the ecstatic trips spent wandering Appalachian mountains and southern swamps�with friends, and the times she had to stand up for�herself. �All of This Will End�feels more true to�me than anything ever has,� she says.

In many ways,�All of�This Will End�has become a personal motto for Indigo. �Every day I wake up�with the thought that this could be the end,� she says. �You could look at it�as a sad thing, or you could look at it�as a really precious thing: Today I'm�alive and at some point, I will not be in this body anymore. But for now, I can�do so much with being alive.� There�s a peacefulness in acceptance throughout.�As she sings on�the title track, �I�m only loving only moving through and�trying my best / Sometimes it�s not enough but I�m still real and I forgive.��She describes the experience of writing this song as �magic,� as if everything�about it from the words and melody had felt timeless and intangible and that�she was just writing it down. Like the hues of reds and oranges that her mother�painted on the LP cover,�All of This Will�End�marks a�warmer and unmistakably audacious era for her. It�s a statement�about fearlessly moving forward from the past into a gratitude-filled present,�feeling it all every step of the way, and choosing to embody loving�awareness.

On the heels of his newest single release �Forget Me,� Lewis Capaldi returns with his sophomore album, Broken By Desire To Be Heavenly Sent.

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that�would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career �Ol� 55� (famously covered by the Eagles), the heartbreaking �Martha� and the gentle acoustic folk of �I Hope�That I Don�t Fall In Love With You�. Reissued for the first time as a double LP to commemorate the 50th anniversary of the landmark debut with newly half speed mastering at Abbey Road Studios.

Brooklyn bedroom-pop trailblazers Beach Fossils' new album Bunny is a triumphant return for one of the 2010s most influential NYC bands. Bunny is a precise blend of the luscious dream-pop atmospheres they notoriously honed on their earliest projects, the post-punk vigor expressed on Clash The Truth, and the warm sophisticated songwriting of Somersault. Composer Dustin Payseur peppers the album equally�with descriptions of the joy of fatherhood and the existential pleasure of smoking cigarettes out of a car window�with friends --�Bunny features Beach Fossils' most personal lyrics to-date.