Featuring remastered audio, taken from the ‘Chasing The Sun’ reissues - available for the first time as one collection - ‘The Masterplan’ is an extraordinary collection of B-sides originally featured on singles from Oasis’ era-defining first three albums, ‘Definitely Maybe’ (1994), ‘(What’s The Story) Morning Glory?’ (1995), and ‘Be Here Now’ (1997). Far from being inferior to the singles they backed, many of the 14 tracks that feature on ‘The Masterplan’ have become as cherished as the band’s biggest singles from that seminal period. The album includes tracks ‘Acquiesce’, ‘Half The World Away’, ‘Talk Tonight’, Oasis’ iconic live cover of The Beatles’ ‘I Am The Walrus’ and the epic title track. Noel has often described ‘The Masterplan’ as one of the best songs he has ever written. Formats include CD, Heavyweight Black LP and limited-edition Silver LP, to celebrate 25 years. ‘The Masterplan’ charted at No.2 in the UK Official Album Chart UK selling over 122,000 copies in its first week. It went on to be certified triple platinum and has sold over three million copies worldwide.

To celebrate the 10th anniversary of CHVRCHES critically-acclaimed debut album 'The Bones of What You Believe', they are releasing a newly remastered version. The album spawned seven singles including their massive alternate hit "The Mother We Share”. The 2LP/2CD version features previously unreleased songs, four from the album session, including “Manhattan” along with five live songs recorded at Ancienne Belgique.

Mac Miller's Swimming marked a pivotal point in the late artist's career. His devotion to constant sonic exploration and artistic reinvention had already been well-documented prior to the album's release -- the quantum leap from his Billboard chart-topping debut Blue Slide Park to his sophomore album Watching Movies with the Sound Off, his tour de force as a producer on his 2014 mixtape Faces and ability to direct a full band on 2016's The Divine Feminine were evidence of his steadfast commitment to growth in his craft. Yet upon its release, Swimming was immediately understood by both his fans and critics alike as the high water mark of his career: an album that perfectly showcased the musical chops he had developed vocally and instrumentally over the course of a decade. This understanding was reinforced when, just 3 days after the album's release, NPR Music published a Tiny Desk Concert where Miller and band performed album cuts "Small Worlds," "What's The Use?" featuring regular collaborator Thundercat and "2009" with a full band. The now-iconic performance remains one of the highest streamed performances in the history of NPR's Tiny Desk Concert series and is now available on vinyl for the first time.

NPR Music Tiny Desk Concert vinyl, featuring the live recording of the 2018 performance from NPR Headquarters in Washington, D.C.

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 9 additional tracks added chronologically, including “Blackbird”, “Glass Onion” and the new song, “Now And Then”. The last Beatles song, “Now And Then” completes John Lennon’s 1970s vocal and piano demo recording with parts played by Paul McCartney, George Harrison and Ringo Starr, as well as a new arrangement for strings. The 3LP collection now features 37 tracks, 6 of which have new mixes for 2023. The set’s 9 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1966 – 1970 collection is a joyous celebration of The Beatles’ timeless musical legacy.

Also Available:
1962-1966 (The Red Album): Expanded [2CD]
1962-1966 (The Red Album): Expanded [3LP]
1967-1970 (The Blue Album): Expanded [2CD]
1967-1970 (The Blue Album): Expanded [3LP]
1962-1970 (The Red and Blue Albums): Expanded [6LP Box Set]
Now and Then [Vinyl Single]

boygenius (Julien Baker, Phoebe Bridgers, Lucy Dacus) presents the rest, a new four-track EP, serving as an expansion of their critically acclaimed debut full-length, the record. Produced by boygenius, Tony Berg, Jake Finch, Ethan Gruska, Calvin Lauber, Collin Pastore and Marshall Vore, the rest continues to showcase the band’s songwriting prowess and distinct sound. This EP also includes a 16-page newspaper zine.

Over the course of his career, Sufjan Stevens has blurred distinctions between the major and the minor, between the details that color our existence and the big events that frame our lives. He has turned historical footnotes of States into kaleidoscopic pop, and rendered the immeasurable grief of loss with intimacy and grace.

His new album Javelin—Sufjan’s first solo album of songs since 2020’s The Ascension and his first in full solo singer-songwriter mode since 2015’s Carrie & Lowell—bridges all these approaches. Sufjan uses the quietness of a solitary confession to ask universal questions in songs we can share communally. Accompanying the CD and LP formats of the album is a 48-page book of art and essays. With a series of meticulous collages, cut-up catalog fantasies, puff-paint word clouds, and iterative color fields, Sufjan builds order from seeming chaos and vice versa. And toward the middle of it all are 10 short essays by Sufjan, another window into the process that informed Javelin.

Duran Duran return with their new album Danse Macabre. The 13 song collection features: three brand new songs; haunting covers of songs by artists such as Billie Eilish, Talking Heads, The Rolling Stones and The Specials; and new versions of Duran Duran classics from their own catalog. It also includes a rare b-side and fan favorite: “Secret Oktober 31^st”.  Guest artists include producer, guitarist and composer Nile Rodgers, Victoria De Angelis of Måneskin and former band members Andy Taylor and Warren Cuccurullo.  Exquisitely packaged with a fold-out poster, the record features images adapted from a collection of authentic vintage séance photos that band member Nick Rhodes sourced at auction. 

Jenny from Thebes began its life as many albums by the Mountain Goats do, with John Darnielle playing the piano until a lyric emerged. That lyric, “Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief,” became “Jenny III,” a song which laid down a challenge he’d never taken up before: writing a sequel to one of his most beloved albums.   The Mountain Goats’ catalog is thick with recurring characters—Jenny, who originally appears in the All Hail West Texas track bearing her name, as well as in “Straight Six” from Jam Eater Blues and Transcendental Youth side two jam “Night Light,” is one of these, someone who enters a song unexpectedly, pricking up the ears of fans who are keen on continuing the various narrative threads running through the Mountain Goats’ discography before vanishing into the mist. In these songs, Jenny is largely defined by her absence, and she is given that definition by other characters. She is running from something. These features are beguiling, both to the characters who’ve told her story so far and to the listener. They invite certain questions: Who is Jenny, really? What is she running from? Well, she’s a warrior and a thief, and, this being an album by the Mountain Goats, it’s a safe bet whatever she’s fleeing is something bad. Something catastrophically bad.   Jenny from Thebes is the story of Jenny, her southwestern ranch style house, the people for whom that house is a place of safety, and the west Texas town that is uncomfortable with its existence. It is a story about the individual and society, about safety and shelter and those who choose to provide care when nobody else will.   This is what a follow-up to All Hail West Texas entails. But if you think about the Mountain Goats as they were in 2001, when Darnielle wrote and recorded that album on his own, mostly into his Panasonic RX-FT500 boombox, and how they are now as the recording and touring outfit of Darnielle, Peter Hughes, Matt Douglas, and Jon Wurster, you may find yourself asking how. That occurred to Darnielle, too.   “If we’re going to do a sequel to a record that was recorded almost entirely on a boombox,” he asks, “why not do the opposite and make it as big as possible?”   Decamping to Tulsa, Oklahoma’s legendary The Church Studio with Grammy-winning producer/engineer Trina Shoemaker (Sheryl Crow’s The Globe Sessions), that is exactly what the Mountain Goats did. Jenny from Thebes is a lush collection of showtunes, pushing Darnielle as a vocalist and the Mountain Goats as a band, broadening their sonic palette once again by leaning into influences like Godspell, Jim Steinman, and The Cars. The resulting album cuts a path that is simultaneously full of allusions longtime Mountain Goats fans will spin entire mythologies from while also being their most inviting record for those who’ve yet to be converted to the cause.   Lifted by Matt Douglas’ horn and string arrangements, the dreamy guitar of Bully leader (and Bleed Out producer) Alicia Bognanno, and backing vocals from Kathy Valentine of The Go-Go’s (“Only One Way,” “Same as Cash,” “Going to Dallas”) and Matt Nathanson (“Fresh Tattoo”), the album is a widescreen musical in scope, a melodrama of richly detailed characters and sweeping emotions.   Explaining the title of the album, Darnielle notes that Jenny is not unlike a character from Greek literature, someone on the verge of an unimaginable tragedy whose signs and portents will not make themselves known to her until she finds herself amidst the wreckage. “These things never happen in isolation,” he says. “One bad event leads to and is the reason for another bad event. Jenny should know that you can’t keep a safehouse in a west Texas town, but she’s too wrapped up in the process and has to go through the loss to understand how it happened.”   Whether or not she comes to understand how it happened, the events of Jenny from Thebes set Jenny on the run. A woman and her custom yellow and black Kawasaki held in the memories of a vanishing few, someone who held the gate for as long as she could, as a warrior might, before disappearing into the night like a thief.