Music Releases 09-02-22
Vinyl: $59.98 Buy
Megadeth's new album features 12 new songs from the titans of thrash metal! Produced by Dave Mustaine and Chris Rakestraw, the follow-up to the Grammyr award-winning Dystopia album will melt fans ' minds with songs like "We'll Be Back," the new radio hit "Soldier On!" and "Night Stalkers" featuring Ice-T. Indie Exclusive Deluxe 2 LP on 180-gram vinyl includes a 7" single of "We'll Be Back," b/w an unreleased 2021 live version of "The Conjuring," with lenticular litho. Limited Edition. Deluxe 2 LP/7" Single
YUNGBLUD is the self-titled third album by 24-year-old singer/songwriter and multi-instrumentalist YUNGBLUD (Dominic Harrison). Following the success of 2018’s 21st Century Liability and 2020’s weird!, his third record is simply titled YUNGBLUD: it’s a reclamation of his own narrative and the consolidation of his artistic identity. YUNGBLUD is out September 2, 2022. Indie Exclusive Pink LP.
“Back to Westbeach with Donnel Cameron. I don’t remember that much about this album. Erik had just quit heroin and he was still sick. Two days after we finished, Erik checked himself into a rehab and stayed there for two months. That was 7 years ago and he has been totally sober ever since. Cool. He won’t even eat chicken if it has wine sauce on it. He made it clear that NOFX was more important to him than drugs. Anyway, I don’t remember how long this album took, but I do remember it took me a fuck of a long time to sing. Standard.” - NOFX
Not Just A Girl (The Highlights) features 18 tracks, spanning Shania Twain's illustrious career. Achieving five GRAMMY Awards and three RIAA diamond-certified albums, she has sold over 100 million albums and is one of the best-selling artists of all time. This collection serves as the soundtrack to her 'Not Just A Girl' documentary which includes Shania's biggest hits and fan favorites, "You're Still the One," "That Don't Impress Me Much," "Man! I Feel Like a Woman!" and more, plus one new song.
Mo Troper is truly one of a kind, and that’s never been more apparent than on his fifth full-length, the winkingly titled MTV. Arriving hot on the heels of his 2021 full-length, Dilettante, the album finds the Portland, OR-based power pop extraor-dinaire diving further into home-recorded immediacy to make a record that feels like a strikingly direct conduit to the world of Mo–where heartbreak, hilarity, and hooks all go hand-in-hand.
MTV hurtles through 15 songs in just 31 minutes, with most of the tracks never even coming close to the three-minute mark. The sequence feels like a combination of a fever dream and a travel diary, intertwining tales of romantic long-ing with the ups and downs of cross-country touring. Songs like “Across The USA,” “Royal Jelly,” or “Coke Zero” unravel the headaches and heartbreaks, often alternating between unflinching emotional details and legitimately funny one-lin-ers. “I feel like I’m just in this mode of rebelling against the expectation for artists to be emotionally or aesthetically cohe-sive,” Troper says. “I think about all my favorite records and songwriters, and they’re often these people who would have really depressing stuff and then insane moments of levity that don’t get talked about as much. I want to make music that’s emotional but also campy or sarcastic or resonates in other ways. I’m like, ‘you know what, it’s all me."
Released in June 1984, Breaking Hearts consolidated the success of the previous year’s 2 Low 4 Zero, which had elevated Elton to the upper echelons of the world’s charts. Replicating the formula of the previous album, it was recorded at AIR Montserrat, with his core players Davey Johnstone, Dee Murray and Nigel Olsson. It contains the much-loved single Sad Songs (Say So Much), Passengers and Who Wears These Shoes.
A Single Man was one of the most eagerly anticipated albums of Elton John’s career. Released two years since his last album, Blue Moves, the Elton John that greeted the world in 1978 cut a sombre, serious figure; working for the first time since 1970 without producer Gus Dudgeon and for the first time since 1967 with Bernie Taupin (the only original album in his career completely with him), A Single Man yielded two of Elton’s best loved hits, Part-Time Love and the poignant, almost-instrumental closer, Song For Guy.
Buoyed up by the surprise success of Tiny Dancer as a result its appearance in Almost Famous, Elton John enjoyed artistic reinvigoration in the early 21st century by returning to the sound and feel of his early solo albums. Released in September 2006, The Captain and The Kid followed the much-loved Songs From The West Coast and Peachtree Road; his 28th solo album was a direct sequel to the 1975 album Captain Fantastic And The Brown Dirt Cowboy.
Recorded in Atlanta, it picked up where it’s the original left off, and chronicled the lives of Elton and Bernie Taupin across the intervening years. Like its 1975 predecessor, the package contains two booklets – Lyrics and Scraps
Released in November 1995, Love Songs was Elton John’s second CD retrospective of the 90s and built on the enormous success of The Very Best Of, and his first solo UK No 1, Sacrifice in 1990. Collecting 18 of Elton’s best loved ballads, Love Songs reached No 4 in the UK charts and remained in the listings for 48 weeks.
The vinyl version of the release was extremely limited, as a result, copies change hands for three-figure sums. This 2022 edition is presented as an audiophile 180gm double set.
Winnipeg band Living Hour will release their third LP Someday is Today on September 2, the follow up to 2019’s acclaimed Softer Faces. Composed of 11 songs, Someday is Today is the band at their most pensive and longing, with their vulnerable lyrics brought beautifully to life by the lush and generous instrumentation that winds its way through the album. A striking evolution of their sound, illuminated by help of friends, including Jay Som’s Melina Duterte who joins the band on lead single "Feelings Meeting" & mixes half the album.
Recorded over a week in their hometown, the project wrapped up months of electronic and disjointed correspondence necessitated by mandatory lockdownsand punctuated by the harsh Winnipeg climate. Though the process was highly fractured, it breeded creativity and shockingly resulted in a new warmth, which mixes the sometimes-drifting Yo La Tengo-esque patterns of melancholy and the gleaming, earnest splendor of Beach House. The whole thing feels like a cohesive world of soft and gorgeous harmonies, filled with an energy that flourished in spite of everything happening around them.
There is a moment on Sides, the new album from Richmond, Virginia-based duo Lean Year, in which a hospital room floor is filled with white chrysanthemums. This imagery, based on an opiate-induced hallucination experienced by vocalist Emilie Rex’s mother as she recovered from surgery, is a perfect encapsulation of the band’s second album: dreamlike and beautiful, yet burdened with cold, stark reality.Sides is a harrowing journey through realms of grief and memory, a meditation woven into a tapestry of synth pads, woodwinds, and Rex’s instantly recognizable voice.
The duo of Rex and Rick Alverson—who also works as a film director (The Mountain, Entertainment, The Comedy)—originally set out to write an album about conflict, but during the writing and recording process, they were confronted with a number of personal tragedies. Alverson lost both of his parents in rapid succession, Rex’s mother received a cancer diagnosis, and the couple’s beloved family dog, Orca, died. These events transformed the album into an exploration of loss—an attempt at processing the painful, complex, and private emotions that bubble to the surface when confronted with death. “We thought we’d do a concept album called Sides where we could reflect on all of the division in the world, and some in our own families, but then COVID transformed everything/everyone, and we suffered our own specific losses. The record became about loss and grief,” Rex explains. “In this way, the title Sides was still appropriate: our individual grief and collective grief, the margins of before and after, the act and feeling of during and enduring. It felt like straddling a threshold between two opposing sides—the moment before conflict and the moment after it passes, life and death, the act of living and the memory of the act. Grief feels like a contention between what you knew and what you now know, and often both feel real and unreal at once.
”Sides—produced by Alverson alongside Erik Hall (In Tall Buildings) and featuring contri-butions from Elliot Bergman (Nomo, Wild Belle) and Joseph Shabason (Destroyer, The War on Drugs)—has a distinctly cinematic quality, perhaps due in part to Alverson’s other career. Moments of jazz, slowcore, and dirgelike R&B find their way into the sorrowful, ambient suite, lulling the listener into a state of calm while the lyrics speak of ghosts, childhood, and mortality. Despite the gravity of the subject matter, Sides succeeds in mastering a balancing act between pathos and pop. Each song is indelible and haunt-ing, with melodies that have the kind of broad appeal reminiscent of Karen Dalton, Aldous Harding, and FKA twigs.
Vinyl: $30.98 Buy
Vinyl LP pressing. Includes digital download. 2022 release. Stellar Drifting is 10 tracks of widescreen, futuristic electronic music. With features from the likes of SOAK, London Grammar and Domino's own Panda Bear, Stellar Drifting is George's most ambitious project to date. George keeps his roots deep within the electronic music scene, bringing in pop melodies, club rhythms and other UK dance music elements whilst pushing the boundaries of his sound.