In spite of the various crises that have occurred since 2017's Native Invader, Tori Amos has emerged with Ocean to Ocean, her most personal work in years - an album bursting with warmth and connection, with deep roots in her earliest song writing. Written during the third lockdown in Cornwall this year, Ocean to Ocean is a universal story of going to rock bottom and renewing yourself all over again.
Mastodon will release their anxiously awaited ninth full-length album, HUSHED AND GRIM, on October 29, 2021 via Reprise Records. Over the past year, the group recorded the album in their hometown, collaborating with producer David Bottrill [Tool, Rush, Muse, Peter Gabriel] behind the board. As their most ambitious body of work to date, it consists of 15 tracks, surveying sonic landscapes of rock, psychedelia, punk, metal, alternative, and prog threaded together by the innately expressive musical interplay of these four musicians. At the same time, an atmosphere of loss, loneliness, and longing permeates through the trio of cathartic vocals as they musically say goodbye to old friend, confidant, and longtime manager the late Nick John by architecting a magnum opus that bears the influence of his eternal memory.
The soundtrack features instrumental and vocal music written by Japanese Breakfast’s Michelle Zauner for the highly anticipated, open-world video game. Drawing from her years of songwriting experience, the 32-track collection finds the musician, director and author making new explorations into ambient and experimental music, the resulting soundtrack as breathtaking and otherworldly as the game itself. From indie game developer Shedworks and publisher Raw Fury, Sable will be available September 23 on the Xbox Game Pass console and PC.
**LIMITED EDITION: FOIL-STAMPED AND NUMBERED TO 6,000 WORLDWIDE!
King Gizzard & The Lizard Wizards' seventh album Paper Mâché Dream Balloon (2015) was recorded using nothing but acoustic instruments. Yet this lovely, lilting pop masterpiece still evokes the intoxicating exuberance of any other KGATLW album, just with a more pastoral, communal feel.
Limited to 6000 copies worldwide! This Deluxe edition comes in a Lenticular 3D LP jacket (think "Her Satanic Majesties Request") with a second LP of instrumentals and updated artwork by band artist Jason Galea. Pressed on blue seagrass & translucent pink vinyl, and wrapped in a plant based eco-bag with Obi strip, each copy is foil stamped numbered 1-6000.
London, England’s Wolf Alice will release the deluxe version of their Mercury Prize-nominated third album, Blue Weekend, on October 29th on RCA/Dirty Hit. The deluxe version of the record -- which received universal acclaim on both sides of the Atlantic when the original was released this past June -- will feature a cover of the Alex G song “Bobby,” as well as live versions of other album favorites known as “The Pool Sessions.”
Blue Weekend is the follow-up to 2018’s, Mercury-prize winning Visions Of A Life, a record that cemented the bands position as one of the UK’s most exciting bands, debuting at No. 1 there upon its release. Following an avalanche of critical praise and DSP playlisting across the world, Blue Weekend was nominated for the prestigious Mercury Prize, making them one of the only artists to be nominated for every single album they’ve released.
Wolf Alice are Ellie Rowsell (vocals, guitar), Joff Oddie (guitar, vocals), Theo Ellis (bass) and Joel Amey (drums, vocals). It has been a decade since the band began as a duo of Ellie Rowsell and Joff Oddie, then later expanding to a four-piece, with Joel Amey and Theo Ellis joining the group. Since then, the band saw their 2015 debut album My Love Is Cool soar to #2 on the UK charts, their sophomore album Visions Of A Life win the 2018 Hyundai Mercury prize, and a GRAMMY nomination for Best Rock Performance.
The band have graced the stage at various worldwide festivals including the Pyramid Stage at Glastonbury, Coachella, and The Governors Ball NY. They played a massive 187 shows on the Visions Of A Life world tour – including a sold out Alexandra Palace, and two sold out dates at Brixton Academy. TV appearances include The Late Late show with James Cordon. Their most recent album Blue Weekend (produced by Markus Dravs (Arcade Fire, Björk, Brian Eno, Florence + The Machine) sees Wolf Alice embrace a newfound boldness and vulnerability in equal measure.
Colorado songwriter Emily Scott Robinson beckons to those who are lost, lonely, or learning the hard way with American Siren, her first album for Oh Boy Records. With hints of bluegrass, country, and folk, the eloquent collection shares her gift for storytelling through her pristine soprano and the perspective of her unconventional path into music.
“I think that the thread running through the album is those things that call to us, and how we can't resist that call,” she says. “It’s about the siren songs that come up through our lives.”
Though not fully autobiographical, American Siren gracefully blends imagined characters with meaningful people she’s encountered on her journey. Showcasing her ability as a storyteller, “If Trouble Comes a Lookin’” invents a scene where a vulnerable priest and an unhappy wife meet in an Arkansas hotel bar. “Hometown Hero” is an emotional tribute to her cousin, a veteran lost to suicide. “Lost Woman’s Prayer” stems from the words of a sage friend she met while traveling abroad, while “Every Day in Faith” is a personal testament to seeing things through.
Robinson received significant acclaim for her 2019 album, Traveling Mercies. And her long-held dream came true later that year when she sang on the Telluride Bluegrass Festival stage as the winner of the Telluride Troubadour Contest. A poignant standalone single in 2020, titled “The Time for Flowers,” prompted a private Instagram message from Oh Boy Records’ Jody Whelan, letting her know how meaningful the song was to his family. They struck up a fast friendship, then decided to partner for a release of American Siren.
“It is bigger and riskier and more expansive than my last collection,” Robinson says. “It feels like I wrote some songs that I'm going to grow into as I continue to perform them. I actually cried after I finished every one of them. I was so relieved that I was able to write them. I carved out a little more of my own experiences into these songs. They're excavating some deeper stuff than I've touched on before. I think they will have a healing quality for people who listen.”
For her fans and for herself, this revealing collection proves that heeding the call to make music was the right decision. "Ever since this dream was born, I don't think it's ever left my mind," Robinson says. "I've worked toward it every day, even when I felt like I was stumbling in the dark. Now I can look back and see how beautifully it all knits together."
Sam Evian’s highly anticipated third album, Time To Melt will be released on October 29th which will be a debut on Fat Possum Records. Sam is a prolific producer & engineer with credits including Big Thief, Blonde Redhead, Widowspeak, Anna Burch, Cass McCombs, Hannah Cohen, Cassandra Jenkins, Okkervil River and more.
The fictional band from the NBC seriesParks & Recreationis finally getting their due with a new album set to arrive on Aug. 27. And to mark the 10th anniversary of their Pawnee reunion performance where they debuted "5,000 Candles in the Wind" after the death of town mascot Lil' Sebastian, a new video and digital release for the song has arrived.
Led by Andy Dwyer, who previously fronted A.D and the D Bags, The Andy Andy Andies, Andy Dwyer Experience, Angelsnack, Crackfinger, Death of a Scam Artist, Department of Homeland Obscurity, Everything Rhymes with Orange, Fiveskin, Flames for Flames, Fleetwood Mac Sexpants, Fourskin, God Hates Figs, Handrail Suicide, Jet Black Pope, Just The Tip, Malice in Chains, Muscle Confusion, Ninjadick, Nothing Rhymes with Blorange, Nothing Rhymes with Orange, Penis Pendulum, Possum Pendulum, Punch Face Champions, Puppy Pendulum, Radwagon, Razordick, Scrotation Marks, Tackleshaft, Teddy Bear Suicide, Threeskin, Two Doors Down and Scarecrow Boat, the group is finally issuing their debut album.
The buzz from Mouse Rat’s performances at Pawnee’s Snakehole Lounge led to Dualtone’s partnership with Entertainment 720 co-founder and Snakehole Lounge part owner Tom Haverford. “Any creative business coming out of Pawnee is tied to Haverford” said Dualtone President Paul Roper, “From Rent-a-Swag to Tommy Fresh cologne and Tom’s Bistro, not to mention his business ideas not yet formed like the scented phone, talking tissues, contact lenses that display text messages and the glitter-infused laundry detergent Sparkle Suds, partnering with Entertainment 720’s hype machine was essential. The man is an idea factory.”
Roper continues, “This is about the team as much as it is the music. Andy’s wife and manager April Ludgate Dwyer is a marketing genius. Selling CDs at the Parks and Recreation shoeshine stand for $18 each, $40 for the set?? I don’t know anyone else who could pull that off.”
Mouse Rat'sThe Awesome Albumwill feature guest turns by Duke Silver and Land Ho!. The album will be available via Dualtone in partnership with Entertainment 20.
Flag Day soundtrack features songs from Cat Power, Glen Hansard, Eddie Vedder & Olivia Vedder. Jennifer Vogel’s father was larger than life. He taught her so much about love and joy but was also the most notorious counterfeiter in U.S. history. Based on a true story, Sean Penn directs and stars with his real-life daughter, Dylan. It’s a portrait of a woman struggling to rise above the wreckage of her past while reconciling the inescapable bond between father and daughter. Seattle Surf/Republic.
"The dancer wants to get in a groove and stay there until he has exhausted his invention or his body. The timescale and momentum of any physical activity is vastly different from the attention span of listening."Albert Goldman "A good remix is when the remixer's sonic fingerprint is present, without sounding forced. It should feel like it's own story, with at least some of the same characters as the original." Khruangbin The art of the remix has been around for several decades, from the fervid imaginations of JA pioneers like Coxsone Dodd, Duke Reid or King Tubby to the disco enthusiasts of New York, such as Tom Moulton, who bequeathed us the modern iteration of the remix and provided a template from which most remixers still work. Moulton's first commercial remix, a reworking of BT Express' appropriately-named 'Do It 'Till You're Satisfied', which stretched it from three minutes to a luxurious five, assisted the band in securing it's first Billboard R&B Number One, as well as providing a pathway for remixers like Walter Gibbons, Larry Levan, Richie Rivera and Tee Scott, to completely reinvent the concept of a remix (and in some instances, deconstructing the idea of what comprised a song). It has subsequently been used as a marketing tool, a dancefloor-devastator, a gimmick (both cheap and expensive) or even as a way of reaching a different audience (think Tori Amos' 'Professional Widow'). Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. "We write our music to be interpreted; this is another wonderful interpretation of the music," reassure Khruangbin. "There is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves." The choice of remixers for this album is neither arbitrary nor accidental. They're not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled 'White Gloves' on a recent mixtape, Natasha Diggs and Soul Clap's Eli's are recent buddy-ups, Quantic is a mutual friend of Bonobo (crucial in the KB origin story), while I've known Laura for number of years; plus she is also godmother to one of Felix Dickinson's kids. Doesn't get much more intimate than that, right? Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on, wearing fashionably loose clothes. The choice is yours. But all were made with love and respect for Khruangbin. "A good remix deconstructs, recontextualizes, or simply extends a good time," say the band. Amen and out. Bill Brewster
SAVE FACE are a band who have always prided themselves on taking risks and the New Jersey band have doubled down on that sentiment with their sophomore album, Another Kill For The Highlight Reel.
Another Kill For The Highlight Reel, which features indelibly human performances, including a guest appearance from Thursday’s Geoff Rickly on “A.M. Gothic”. “There’s something about the New Jersey kinship [between Geoff and I] that really resonates with me,” Tyler Povanda explains. “New Jersey’s music scene is really something special.”
Musically, the album—which was produced by the Movielife’s Brett Romnes—sees Povanda taking influence from his Jersey brethren like Thursday but adds a theatrical twist. “‘GLITTER’ was the first song I wrote that ended up being on this album and it bridges the gap between Merci and Another Kill For The Highlight Reel, ” Povanda says. “I think that song serves as a cool sonic metaphor for the transformation of the band. I would say this album isn’t narrative in the same way as the last one, but it does feel much more immersive.”
Everything, the debut album from Chicago quartet Bnny, may as well be a field recording taken from the lone country of grief. Written in sessions that span several years by singer Jess Viscius as she processed the death of her partner, the album is a chronicle of love at its most complex and loss at its most persistent. In the same vein as Sky Blue Sky-era Wilco or the harrowing vulnerability of Tomberlin or Helena Deland, Viscius' songwriting is evocative and intentional. A longstanding member of the Windy City music scene, the album was produced by Dehd's Jason Balla, and the sparse arrangements pick apart complicated truths while feeling both timeless and transcendent. Everything is out in September on Fire Talk (Dehd, Deeper, Mamalarky).
The Path of the Clouds, Marissa Nadler’s ninth solo album, is the most stylistically adventurous, lyrically transfixing, and melodically sophisticated collection of songs in her already rich discography. Gripped by wanderlust while suddenly housebound at the start of the pandemic in2020, Nadler escaped into writing, and came back with a stunning set of songs about metamorphosis, love, mysticism, and murder. Blurring the line between reality and fantasy and moving freely between past and present, these11deeply personal, self-produced songs find Nadler exploring new landscapes, both sonic and emotional. Nadler tracked the skeletons of the songs at home and then sent them to some choice collaborators, including experimental harpist Mary Lattimore and Simon Raymonde, the Cocteau Twins bassist and her Lost Horizons collaborator. Multi-instrumentalist Milky Burgess, having recently worked on the soundtrack to the film Mandy, adds intricate melodic power throughout the album. Jesse Chandler, Nadler’s piano teacher (as well as a member of Mercury Revand Midlake), plays winding woodwinds and plaintive piano to luminous effect. Fellow singer-songwriter Emma Ruth Rundle contributes a slinky guitar solo on “Turned Into Air,” while Black Mountain’s Amber Webber steps in as a vocal foil to Nadler, a ghostly apparition in the distance of “Elegy.” Seth Manchester, known for his work with Lingua Ignota, Battles, and Lightning Bolt, mixed the album at Machines with Magnets in Pawtucket, Rhode Island. Manchester added dimension to the songs’ atmospheric beauty with screeching feedback and distorted guitars. Stripped of the ethereal reverb that often swaddles her resonant vocals, Nadler’s delivery now stings and pierces with newfound immediacy and confidence. The Path of the Clouds showcases the power of an artist at the peak of her powers nearly 20 years into an acclaimed career as a songwriter and singer. Coming a long way from the spare dream folk of her earlier work, she has remained inspired and continues to evolve, open to new ideas and directions. The proof is right here, in Nadler’s most ambitious and complex album yet.
Country singer/songwriter Hayes Carll returns with his eighth album You Get It All, produced by Allison Moorer and Kenny Greenberg. Carll's talent for storytelling and creating compelling lyrical narratives shines through as brightly as ever, and You Get It All exemplifies his ability to span a wide range of musical styles while staying true to himself. Featuring songs co-written by Brothers Osborne, Brandy Clark, and Sean McConnell, You Get It All is both heartbreaking and lighthearted, a combination that Carll has honed on his records throughout his entire career. "I like to tug at heartstrings, find commonality with others, reflect on my own life, and sometimes I do it in a lighthearted way," says Carll. "A lot of musical styles found their way onto this record, but my first and most formative influences came from country music. This is a country singer-songwriter record. It's just unapologetically me."
Montreal’s No Joy—since 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluz—has rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3’s Pete Kember. In 2020, her first full-length as a soloist and No Joy’s first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity?
Now, White-Gluz’s ever-expansive evolution has brought forth 'Can My Daughter See Me From Heaven', an EP reanimation of five songs fromMotherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirth—an opportunity to grow those tracks, similar to the transformation they would’ve undergone live, on stage. “Songs take on a new life when I’m on tour. These songs didn’t get that chance. I still had more to say with them,” White-Gluz explains. “I probably never would’ve been like ‘let’s get a bunch of classically trained players together,’ if it wasn’t for covid-19 [canceling tours. This EP] was an opportunity to do something that wasn’t obvious. It’s a bedroom recording, but it doesn’t sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid.” Where many musicians used last year’s disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: “It was more, ‘Let’s try everything!’ Give me something to look at!”
And there is much to look at. The songs of 'Can My Daughter See Me From Heaven' are bigger—but they’re brighter, too, an ascension from the physical thrash of the terrestrialMotherhood. Ugly, angelic arrangements are the reason, and No Joy’s collaborators old and new are the cause: co-producer and guitaristTara McLeod (Kittie) from Toronto returned, as did Jorge Elbrecht (Sky Ferreira, Japanese Breakfast, Wild Nothing) and Heba Kadry (Björk, Slowdive, Ryuichi Sakamoto) for mixing and mastering, respectively.New additions include Toronto’s Sarah Tawer, a virtuosic drummer who can cover any genre, Nailah Hunter, experimental harpist from Los Angeles, Montreal’s Ouri, a performance artist and cellist, and Calgary’s Brandi Sidoryk, a master of the French horn and a classically trained opera singer who performed backup to White-Gluz—a No Joy first, but not the only one. “I don’t even play guitar on this record,” White-Gluz adds.“That’s never happened before.”
Opener “Kidder,” the last track from 'Motherhood', loses its distortion on the EP, opting instead for divinity: heavy harp, dreamy lap steel guitars. “I never wanted to lean into the fairy princess thing,” White-Gluz jokes, “But we let this one go where it needed to go.”“Fish” has become the sound of a soul leaving its body—dissonant cello behaving like menacing feedback, Brandi’s operatic vocal delivery looped and sampled in the distance—a far cry from The Downward Spiral Nine Inch Nails-inspired guitar of the original. “Four” ditches the DJ booth for air, “a Disney Springtime walk,” as White-Gluz describes it. What follows is “Teenager,” a gorgeous cover of the deep Deftones ’WhitePony' cut, complete with raw studios sounds (pedals going on and off, White-Gluz’s labored breathing between takes) and an eight-minute, extended version of “Dream Rats,” now without White-Gluz sister Alissa of deathcore band Arch Enemy, ironically made heavier and sludgier than before.
A close listen to all five songs will reveal the absurdist influences behind the EP: Disney’s1986 DTV Valentine special, which set tracks like Eurythmics’ “There Must Be An Angel ”to classic animation, live reimaginations of ‘90s alt-favorites like Bjork performing“Isobel” with a live orchestra, and inventive instrument expressions of the same era, like steel drums and acoustic guitars on Jane’s Addiction’s “Jane Says.” “Some of those late 90s electronica trip-hop acts involved strings in their live performance. I was interested in that, and with some of them, I was like, ‘Let’s go full Little Mermaid,” White-Gluz says.
It is unusual, then, that a band called No Joy found inspiration for their latest release in the joys of childhood, on an EP that tackles maternity and bodily limitation, but since when has No Joy been interested in predictability? 'Can My Daughter See Me From Heaven' is an eccentric dream—a visionary concept, delivered with the beauty of an orchestra, punctuated with post-metal. It is alive.
Alan Clark is one of Rock music's rarities: a keyboard player who makes classical piano work in the rock environment. Famous for his role in Dire Straits, he's also played and recorded with a long list of other artists including Eric Clapton, Tina Turner, Bob Dylan, The Bee Gees, and Rod Stewart. With this record "Backstory", Alan is retracing his steps over the past 40 years, revisiting major tracks he's played a part in and recreating them as a piano solos.
Light Conductor returns with Sequence Two, the second album of prismatic slow-burn analog synth instrumentals by the duo of Jace Lasek (The Besnard Lakes) and Stephen Ramsay (Young Galaxy). Expanding on the hypnaogogic ambience of their warm and uncluttered 2019 debut, Lasek and Ramsay add subtle but scintillating structure and electricity to these four new longform tracks. The songs remain predominantly beatless, but burble and vibrate with more ornate, intentional pulses, arpeggiators and control voltages. Light Conductor's analog palette of gently fuzzed-out chordal drone, mesmeric ostinato, sweeping filters and drifting levitational melody continues to colour the glowing atmosphere of this enveloping space/trance music: like sunrise on another planet, with a profoundly satisfying dimension of heightened ceremony and design.
Working from recordings helmed by Ramsay in late-2019 and early-2020, made just before and after Light Conductor tours with Spencer Krug and Godspeed You! Black Emperor, the duo then culled from hours of tape and worked up these soundscapes during isolation 2020-21 (in between Lasek's other recording and mixing sessions for Godspeed's latest AT STATE'S END, Bell Orchestre's House Music, and his own The Besnard Lakes Are The Last Of The Great Thunderstorm Warnings, among others).
Light Conductor continues to convey an ineffable sense of meditative discovery and efflorescence on Sequence Two, as if the music was being played and unfolded for the first time: the genuine effect of these songs being sourced from marathon overnight sessions of live playing, marked by immersive, durational telepathy and semi-improvisation. The duo's psychogenic jams are then judiciously overlaid, usually with just one or two more elements, though for brief stretches becoming stacked and maximal - most notably towards the end of 14-minute album opener "Splitting Light" when an ever-refracted sequencer pattern inexorably develops towards throbbing cadence and multi-layered intertwining melodies, culminating in a final burst of guitar and vocal-driven operatic space-rock chug that invokes Yes, Spiritualized, and (choral) Bon Iver in equal measure (the only vocals on this otherwise instrumental album).
Sequence Two indeed carries forth the prevailing energy of the duo's first album: "If the monolith from 2001: A Space Odyssey overshot the great apes and instead appeared before a mid-00s rock band" is not a bad way to put it (as Paul Blinov did in his Exclaim! review). The particular combination of restraint, luxuriation and repose that Light Conductor achieves is easier heard and absorbed than described - but it makes sense that this music is the dreamlike opalescent nebula of a duo whose respective psych/pop/electro/rock bands are known for more declaratively epic, chiselled, heavy sonic statements. The through line is an emotive devotional sensibility, seasoned by a naturalistic studio mastery, and love for the analog that enmeshes the electronic. Thanks for listening.
When the world shut down in March 2020, Charlotte Cornfield was in the middle of an artist residency in the Rocky Mountains, hunkered down in a hut with a baby grand piano, sketching ideas for a followup album to her Polaris-Longlisted 2019 LP The Shape of Your Name. In a matter of hours, she found herself back home in Toronto with months of touring cancelled and a wide swath of time ahead of her. She began to write feverishly, mining her memories and dreams and recounting them with vivid detail. When the songs were finished, she headed to Montreal to record with producer/engineer Howard Bilerman (Arcade Fire, Leonard Cohen), drummer Liam O'Neill (Suuns), bassist Alexandra Levy (Ada Lea), and guitarist Sam Gleason (Tim Baker). The group tracked the album in 5 days, mostly live off the floor, seeking to capture the raw emotion of the songs. The result is Highs in the Minuses, a memoir in fragments. Here Cornfield fully embraces the role of narrator, moving from one vignette to another in a colourful collage. We see her at 21, heartbroken and lost, carrying a friend's 3-legged cat back to her apartment in a box; then as a teenager, playing a new song for a group of friends on a trampoline. She sings of a magical first date, an ex with a mean streak, two skateboarders gliding in a lakeside parking lot. The brutal honesty in her lyrics brings to mind writers like David Berman and Adrianne Lenker, while musically she conjures a Zuma-era Neil Young, leaping from crunchy guitar rock to piano ballads with effortless grace. Highs in the Minuses is Charlotte Cornfield's strongest offering to date, each song a gem in and of itself.
This is the 3rd in the series of Tipper's downtempo album vinyl releases the label has started in 2020, now being pressed immaculately by RTI. As the album title suggests, Tipper was working on a series of tracks while touring incessantly this long-time fan favorite LP just fell together without much intent or discussion, and is still a unique listening journey. Originally released solely on digital and limited CD back in 2006, each of these tracks has been remixed and remastered sounding fresh some 15 years later.
Christmas With Motown celebrates the classic Motown holiday recordings mixed with new classics from the current roster of Motown superstars. From the Supremes to Ne-Yo to Asiahn, this collection is the perfect soundtrack to the holiday season.
Lily We Need To Talk Now is a record Konigsberg hasbeen slowly chipping away at since 2016, revising andre-recording the songs over the years. The eleven-track collection is her first proper full length, following her anthology of EPs and unreleased tracks, The Best of Lily Konigsberg Right Now, released in 2021 by Wharf Cat Records. The new record is catchy the whole way through, like much of her poppy and plain spoken indie rock output that's made her a fixture of the NYC underground in recent years. Her voice twists and turns and dashes around her clever wordplay in new ways; there are hints of power-pop, pop-punk, and downtempo introspection, all dotted with easter eggs of winking humor. True to it's title, this collection of songs is like a check in with herself. "On "That's The Way I Like It," with backing vocals from longtime collaborator Paco Cathcart, she reflects on the feeling of "struggling with someone you love, and how you can get all evil about it, like a brat, like a baby." On "Proud Home", she sings one of the records boldest earworm hooks ("You've got a lotof fucking things to be proud of!") and tries to comfort a friend who has a crush on her mom. "I really cracked myself up with the lyrics," she says. "It's kind of a Stacey's Mom riff. I decided it's a dedication to Adam Schlesinger [of Fountains of Wayne]." "Roses, Again" is a new take on a familiar Lily tune (originally on Good Time Now) re-recorded at the request of her current live band, who have evolved the song on the road.
Singer/guitarist Aðalbjörn Tryggvason has always worn his vast musical influences on his sleeve. Be it an Entombed sticker emblazoned on his guitar, queueing up Ennio Morricone before a set, or paying homage to Lemmy Kilmister with his cowboy sensibilities, it's no secret that his love for music cannot be contained to any one genre. Now, Tryggvason is taking his adoration for crust punk to an exciting new level with his latest project, Bastardur, which channels influences such as Napalm Death, Terrorizer, Motorhead and Disfear on Satan's Loss of Son.
Gregory Keltgen (aka DJAbilities) gravitated toward the turntables at a young age, becoming a DJ at only 17, before going on to compete in the legendary DMC DJ competitions only 2 years later in 1999. He won the regional title and advanced to the U.S. finals that year, before doing it again in 2001. Soon after,Abilities was also garnering attention for performing all the scratches on indie classic,Fantastic Damage, the debut album by El-P of Run The Jewels’ fame, as well as contributing his turntable talents and production skills to other Hip-Hop cult favorites like The Anti-Albumby Semi. Official, andThe Taste of Rain... Why Kneel?by Deep Puddle Dynamics. But above all, his name would become most celebrated throughout the 2000’s as one-half of the dynamic Hip-Hop duo Eyedea & Abilities.
DJAbilities had first met Micheal “Eyedea” Larsen in the mid-90’s, and the two soon began a working relationship that would eventually play a prominent role in the burgeoning Indie-Rap movement of the time. Together, the pair developed a near symbiotic creative union that produced three albums—First Born;E&A; andBy The Throat—a catalog animated by the burning fusion of Eyedea’s introspective and technically adept rhymes with Abilities’ precise scratches and versatile production. Tragically, his partner Eyedea passed away in 2010 leaving Abilities to soldier on by himself, but the influence of their partnership continues to shape DJAbilities’ music to this day.
His latest project, Phonograph Phoenix, finds the DJ/Producer returning to the forefront and embracing an entirely new approach to making music. A departure from previous work that was primarily sample-based,PhonographPhoenix finds Abilities opting to build the album’s compositions from the ground up, creating his own sound through Ableton Live and various soft synths, with razor sharp cuts and select vocal chops providing a voice where his fallen partner may have once stood.
Abilities’ new production techniques breathe an awakening essence into PhonographPhoenix, whether that’s in the deep, cavernous bass and funky drum loops of “Worldwide”, the gorgeous atmospheric synths he conjures on “Waves”, or the sinister head-nodding groove of “The Badman” with its vulnerable-but-not-self-pitying vocal samples. Throughout its creation, Abilities sought tore main as truthful as possible, ensuring that each song held qualifying meaning and that the album on a whole made a definitive statement. The process inspiredAbilities to dig deep and pull up some heavy, heartfelt beats and, speaking with his hands as all great turntablists do, he used this space to address grief, loss, and his own personal shortcomings, all while making room for hope and optimism.
Originally released in 1987, A Momentary Lapse Of Reason was updated and remixed by David Gilmour and Andy Jackson for The Later Years Box Set. By returning to some of Richard Wright’s original keyboard parts and by re- recording new drum tracks with Nick Mason, producers David Gilmour and Bob Ezrin have restored the creative balance between the three Pink Floyd members. The front cover features an alternative photograph from the original album cover photoshoot.
This Deluxe CD/Blu-Ray Box was remixed in 2019 from the original master tapes and includes bonus material and 5.1 Surround Sound Audio, along with a 40-page booklet and envelope containing 6 exclusive stickers designed by Peter Curzon from StormStudios.
Ambitious and acclaimed series from "The Queen" scribe Peter Morgan offers a comprehensive look at the adult life and reign of Elizabeth II over a projected six-season arc. The fourth season follows Elizabeth (Olivia Colman) from the late '70s to the early '90s, an era bookended by the ascension and fall of Prime Minister Margaret Thatcher (Gillian Anderson), and marked by the courtship-and turbulent early marriage-of Charles (Josh O'Connor) and Lady Diana Spencer (Emma Corrin). Tobias Menzies, Helen Bonham Carter, Emerald Fennell, Stephen Boxer also star. 10 episodes on 4 discs. 9 3/4 hrs. 10 episodes on 4 discs. 9 3/4 hrs. Widescreen; Soundtrack: English.
Original remastered album, previously unreleased full live concert and BBC Session Recorded in 2012, 2011 Electro-Vox Session, limited-edition poster and lithograph, “new car scent: air freshener, 100-page photo book.
The Black Keys release a special tenth anniversary edition of their landmark seventh studio album El Camino via Nonesuch Records on November 5, 2021. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC radio Zane Lowe session from 2012, a 2011 Electro-Vox session, a limited-edition photo book, poster, and lithograph, and a “new car scent” air freshener. A three-LP Deluxe edition, which includes the remastered album and the live recording, also will be available.
The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino— Best Rock Performance, Best Rock Song, and Best Rock Album—among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band).
El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. In the UK, the record gave the band their first top 10 hit, and in the US it debuted at # 2 on the Billboard Top 200. The band was also the # 1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, “Lonely Boy,” reached # 1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, “Gold on the Ceiling,” also reached # 1 on Alternative radio and the third single, “Little Black Submarines,” reached the top 3 at Alternative radio. El Camino has been certified Double Platinum in the US, Australia, and New Zealand; Platinum in the UK, France, Ireland, and Belgium; Quadruple Platinum in Canada; and Gold in Denmark, Italy, the Netherlands, and Spain. Of the album’s singles, "Lonely Boy" was certified nine-times platinum in Canada, triple-platinum in Australia, platinum in New Zealand, and gold in Denmark. "Gold on the Ceiling" was certified platinum in Australia and Canada.
Rolling Stone hailed El Camino for bringing “raw, riffed-out power back to pop’s lexicon,” and called it “the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.” The Guardian said, “They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.”
Beautiful Garbage is the third studio album from Garbage, initially released on October 1, 2001. The album expanded on the band's musical variety, with stronger melodies, more direct lyrics, and sounds mixing rock with electronica, new wave, hip hop, and girl groups. Featuring newly remastered audio by Billy Bush & Butch Vig, this deluxe edition includes Beautiful Garbage on 2 x 180g Black Vinyl, as well as a 12" 180g of B-Sides and memorabilia.
Simply calling Curtis Harding a soul man feels reductive. Harding's voice conveys pain, pleasure, longing, tenderness, sadness and strength-a full gamut of emotions. Today his voice takes on an optimistic lilt with his his new album, If Words Were Flowers. If Words Were Flowers is Harding's first new music since 2018, a follow up to his critically acclaimed 'Face Your Fears" album. It features songs like " Hopeful", where Harding croons with devotion over a classic soul groove, textured with infectious horn playing, background singers and modern psychedelic flourishes. Harding fuels his psychedelic sound with the essence of Soul but isn't bound by it. Instead, his songs convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour around the country as a child to rapping in Atlanta, forming a garage band with The Black Lips' Cole Alexander to singing back-up for Cee Lo Green. Through these experiences he fully embraces life's darkest intricacies and conjures dynamic, addictive melodies
Vinyl LP pressing. 2021 release from the Americana trio. Recorded with Brad Cook (Waxahatchee, Hiss Golden Messenger) and mixed by Jon Ashley (The War On Drugs, B.J. Barham), the fourth full-length album from the Indiana-bred, platinum-selling band marks a return to what Houndmouth does best: "shaggy, swinging, big-screen storytelling" (NPR Music) set to a rustic, home-recorded sound.
GarciaLive Volume 14 showcases a buoyant acoustic performance from Jerry Garcia and longtime friend/bassist John Kahn during the middle of a rare duo tour. Recorded on January 27, 1986 at The Ritz in New York City, Garcia and Kahn deliver two exquisite sets featuring Grateful Dead favorites ("Ripple," "Friend of the Devil," "Dire Wolf," and "Bird Song," among others) and spirited takes on Bob Dylan's "When I Paint My Masterpiece" and "Simple Twist of Fate." New pressing on standard black vinyl.
2021 release, the seventh studio album from the sibling trio. Against The World includes the single "Annalie". The song displays the band's influences from craftsmen like Paul Simon and the flavors of South African guitar, while the lyrics reflect Memphis and other musical places from which the band draws it's inspiration.
Released in 2011 after a long hiatus - Naugahyde reunited the group with their early drummer Jay Lane and harkened back to the early days of Primus (think "Frizzle Fry"). The trio were described by Rolling Stone at the time as a "tight knotty rhythm team." Packaged here in an embossed gatefold jacket, with new photos. 2 x LPs pressed Ghostly Green vinyl.
12” single featuring “Yuletide Throwdown,” co-written and performed with Fab 5 Freddy, recorded around the time of “Rapture,” and using the same samples. The audio has been remastered from the analog tapes and includes an exclusive remix by Cut Chemist. The rare 1981 holiday flexi-disc has been reissued for the first time on 180-gram vinyl and packaged in die-cut bespoke “disco-bag” style sleeve with artwork by New York graffiti artist, Hugo Gyrl. Indie Exclusive on Hot Pink vinyl.
Ghosts of West Virginia centers on the Upper Big Branch coal mine explosion that killed twenty-nine men in that state in 2010, making it one of the worst mining disasters in American history. When asked about what drove him to craft his deeply evocative new album, Steve Earle says, 'I thought that, given the way things are now, it was maybe my responsibility to make a record that spoke to and for people who didn't vote the way that I did,' he says. 'One of the dangers that we're in is if people like me keep thinking that everybody who voted for Trump is a racist or an asshole, then we're fucked, because it's simply not true. So this is one move toward something that might take a generation to change. I wanted to do something where that dialogue could begin.' In ten deftly drawn, roughly eloquent, powerfully conveyed sonic portraits, Earle and his long-time band the Dukes explore the historical role of coal in rural communities. More than merely a question of jobs and income, mining has provided a sense of unity and meaning, patriotic pride and purpose 'I said I wanted to speak to people that didn't necessarily vote the way that I did,' he says, 'but that doesn't mean we don't have anything in common. We need to learn how to communicate with each other. My involvement in this project is my little contribution to that effort. And the way to do that ' and to do it impeccably ' is simply to honor those guys who died at Upper Big Branch.'
Valentine, the hotly anticipated return of Snail Mail, arrives November 5th 2021. The sophomore album marks the first new music from Lindsey Jordan since 2018"s powerhouse debut Lush, called 'truly perfect' by The FADER and included in the top 5 albums of 2018 by Pitchfork. Available on limited indie-exclusive gold vinyl, standard vinyl and CD. LP Gatefold single LP, with limited indie-exclusive gold vinyl edition
In 2009 Steve Earle released an album of Townes Van Zandt songs. It began as solo guitar and vocal tracks recorded in October 2008 in New York City. Other instruments were added later in subsequent sessions for the album in New York, Nashville and Los Angeles. Those original recordings - The Basics - are available on color vinyl for the first time.
On an early draft of folk trio Mountain Man's Bandcamp page, the project aptly described itself as "a creative growing from the mouths of Molly Erin Sarlé, Alexandra Sasuer-Monnig, and Amelia Randall Meath." Sparse and homespun, from the onset the voices of Mountain Man crafted an immediate intimacy. A Mountain Man song exists in a strange and wild and naturalistic world, populated with thick summer air and bright moons and chicadees, unfurling like a long night spent sitting on the back porch steps with your closest friends.
Released in the muggy summer of 2010, Mountain Man's debut full-length 'Made the Harbor' catapulted the project into the spotlight on indie music blogs across the Internet, and then into much bigger stages offline, too. From a MySpace buss band to touring as back-up singers for Feist across the world, Mountain Man's 'Made the Harbor' and the sound of their three voices tangling together had a certain magic that resonated so easily.
Now, a decade past its release, 'Made the Harbor' celebrates its tenth anniversary with an addition disc's worth of bonus material. The second LP here features unreleased songs, live sessions recorded at Bennington College's Greenwall Auditorium at the inception of the project, along with covers of the Mills Brothers, Arthur Russell, and then-Vermont contemporary toothache, and more. The deluxe packaging includes a collage culled from the band's personal collection and live photos from that time, as well as a personal essay by Wilco's Jeff Tweedy.
Nathaniel once again demonstrates that he is a writer and performer of the highest order, who seems to be smack dab in the middle of what we all hope is an extended creative peak. The album showcases Nathaniel's unique observations of our world and people's ongoing struggle in learning how to better understand each other. The Future was produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee, Hiss Golden Messenger) and R.M.B. The latter being the production team of Nathaniel himself, Patrick Meese, and James Barone (Beach House). The same team that both produced and were the core musicians behind Nathaniel's latest and greatest solo effort, And It's Still Alright. Additional production was added by multifaceted musician, engineer, producer, Elijah Thomson (Father John Misty, Richard Swift). Other notable contributions came from Jenny Lewis and Jess Wolfe (Lucius), whom both added backing vocals to the stunning track, "What IF I". And Amelia Meath (Sylvan Esso) who sang on "Face Down In The Moment". The album was recorded at Nathaniel's own Broken Creek Studio just outside of Denver, CO
Terraplane takes its title from the 1930s Hudson Motor Car Company of Detroit model, which also inspired the Robert Johnson song, "Terraplane Blues." It is Earle's 16th studio album since the release of his highly influential 1986 debut Guitar Town. As its title suggests, the album is very much a blues record, some of which was written while Earle toured Europe alone for five weeks with just a guitar, a mandolin and a backpack. Earle, who was raised outside of San Antonio before migrating to Houston, offers about Texas blues, "There was Fort Worth where the model was Freddy King and there was the Houston scene which was dominated by Lightnin' Hopkins. Two very different styles." He saw both of these giants and was also exposed to Johnny Winter, Jimmy and Stevie Ray Vaughn and Billy Gibbons - all of which make their influence heard here within Earle's masterful storytelling. This is the first time this record has been pressed on color vinyl.
Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: "these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as 'albums.'" She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and it's towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from. The emotional chattels of these guitar-driven pop songs are scattered in different boxes, but they all belonged to one person at one point. Being left behind gives these vignettes a tone of brooding introspection. Across the album, Vu excavates an internal universe, loading and unpacking memories, moods, and imagined scenes with agency, charisma, and conviction.Vu's relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She'd wake up every day and listen to LA's ALT 98.7, home to '90s and '00s alternative rock; later in high school, she found the local DIY scene. She remembers, "A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed." Ultimately she'd do her own thing, keeping a journal of bedroom pop experiments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu's self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year. Public Storage builds on the sound of Vu's early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it "very invasive and intense sounding music," refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts. Vu opens the album fixed on a force that recurs throughout. She explains, "I am not religious but when writing these songs I imagined a sort of desolate character crying out to an ultimately punitive force for something more." The first sounds we hear are charming: isolated piano keys cycle into warm strums and self-harmonies on "April Fool," as Vu's protagonist dismisses her surroundings and ability to communicate. The soft amber glow diffuses into the album's title track, a darker, murkier, louder place. Vu rips through "Public Storage' with a series of defiant rejections (failure, family, magic) and cathartic demands ("here are my bruises / all my dents and my fuses / everything that I've got to prove"). It's a rare and powerful display of vulnerability from a lyricist who favors the abstract over autobiographical. Built on a disco synth pattern and grooving bass stabs, "Aubade" has the bright bounce of it's morning namesake, cleverly at odds with it's downbeat subject. The contrast continues on "Keeper," a pulsating new wave cut, replete with soaring dreamy synths and a cooly snarling narrator, again challenging that force ("are you my keeper / can you keep me woe"). "Gutter" returns to the grungy lowlight, with muscular guitar riffs striating above a bed of feedback, swelling alongside orchestral strings to a roaring finish ("I keep score and scream it in the dark / like you wanted").The back half of Public Storage features some of it's most striking moments: the rhythmic, hook-heavy "Everybody's Birthday" speaks to the evil absurdity of the present, the end of times. The night is red, the mood is blue, and her character's shame is painted gold. Vu saves "Maker" for last, a final go at the existential. That long-lost trinket, enormously meaningful, buried at the bottom of a box at the back of the unit. Tender banjo plucks and piano keys serve as the base for Vu's escalating harmonies, overcome by remorseful exhalations, the song culminates on the lines: "save me oh my angel / are you angry / cos I'm not stronger and I crumble / oh that's my nature / just like you." In that address, in finding something lost along the way in too many shuffles from place to place, Vu finds a tarnished token of solace and a logical conclusion for Public Storage: we are all fucked up, scattered, prone to getting lost, and whoever, whatever made us is fucked up, scattered and lost too.
“IL VOLO SINGS MORRICONE”, Il Volo’s new much-awaited album dedicated to the Maestro, will be released worldwide on November 5th. It is an exciting journey through the art and music of one of the greatest composers of the 20th century.
As a sign of the high esteem held for him, they decided to devote part of their amazing career to Ennio Morricone, with the endorsement from the Maestro’s family for this exclusive global project.
“IL VOLO SINGS MORRICONE” is an album with 14 songs recalling the Maestro’s legendary melodies, which have remained forever etched in our memory, including an absolute gem: “L’estasi dell’oro” (“The Ecstasy of Gold” from the movie “The Good, the Bad and the Ugly” – “Il buono, il brutto, il cattivo”), which, for the first time ever, will be accompanied by lyrics written by Andrea Morricone specifically for Il Volo. It also features “I colori dell’amore” (“The colours of love”), an unreleased track composed by Andrea Morricone for the trio that was unexpectedly performed live for the first time, together with other songs by Ennio Morricone, at a big concert held at the Arena di Verona on June 5, 2021.
The album was recorded in the Forum Studios in Rome, with Maestro Marcello Rota conducting the historic Roma Sinfonietta Orchestra, which – since it was established in 1994 – worked extensively with Maestro Ennio Morricone, performing under his musical direction at some of the world’s most prestigious concert halls.
The album also features other key collaborations: violinist David Garrett in “La Califfa” (“The Lady Caliph”), Hauser from 2CELLOS in “Se” (“If”) and trumpet player Chris Botti in “Come Sail Away”.
Il Volo have always felt closely connected to the Maestro, also appearing on stage with him in 2011, at Piazza del Popolo in Rome, to perform “E più ti penso” ("The more I think of you") on a medley of scores by Ennio Morricone from the films “Once Upon a Time in America” (“C'era una volta in America”) and “Malèna”.
A record that is destined to go straight to the heart of millions of people worldwide, as it combines the unforgettable melodies by the celebrated conductor, musician, composer and author of some of the greatest film soundtracks in the history of Italian and international cinema with the trio’s unique voices.
The Low Highway was the follow-up to 2011's Grammy Award-nominated album I'll Never Get Out Of This World Alive and was the first billed as "Steve Earle & The Dukes (& Duchesses)." The album is also the first to feature "The Dukes" band name since 1987's Exit 0. This is the first color pressing for this record.
25th Anniversary Edition of the 5x platinum groundbreaking 1996 debut album Did I Shave My Legs For This? from award-winning country singer/songwriter Deana Carter. All songs have been remastered and includes 2 new tracks. Deana performed and produced new ensemble collaborations of the title track featuring Terri Clark, Sara Evans, Ashley McBryde, and Vince Gill on guitar and the iconic hit single, "Strawberry Wine" featuring Lauren Alaina, Martina McBride, Ashley, Kylie Morgan, and Vince.
Legendary artist and studio maestro Alan Parsons' new live album “The Neverending Show: Live in the Netherlands”. The show was recorded live on May 5, 2019 and showcases the performance that Alan Parsons Live Project held at the Tivoli in Utrecht, Netherlands. The band was, as usual, in fine form and fed extra energy by an enthusiastic audience. An amazing performance by quite possibly the definitive band line-up of exemplary musicians that Alan has toured with. As an added treat, the album includes a brand new studio song, “The NeverEnding Show” which offers a hint of the new studio album that Alan is currently working on for release in 2022.
This recorded autobiography of Catherine Howe, age 20, briefly appeared in 1971. Too young for memoirs, most artists have barely established any sort of musical competence by the age of legal adulthood, let alone compositions matching the maturity and complexity of Howe’s. What A Beautiful Place, however, is a prodigious effort wrought from the melancholy ruminations of post-adolescence. The album’s twelve songs unfold like a classic bildungsroman, beginning in the smoke-stained industrial county of Yorkshire, transformed by the electrified creative landscape of mid-century London, and retiring to the warm pastoral bliss of the county of Dorset on England’s southern coast. Produced by noted jazz pianist Bobby Scott, the LP—oft-mistaken for a concept album—was available for only a month in the summer of 1971, disappearing after Reflection Records’ shuttering in 1971.
People Years is a dream of an amalgamated spitball wadded by the nerdy version of you and made from subterranean and atmospheric particles of bands like Luna, Pavement, Pink Floyd, and LCD Soundsystem, loaded into a straw, and launched into the midnight hair of that Robert Smith-worshipping goth girl named Summer, who sat a few rows in front of you in class.
Born in Ontario, AHI (pronounced “eye”) grew up in a traditional West Indian family that considered music diversionary entertainment, but after dropping out of school to hike, meditate, and fast his way across the world, he set his mind to pursuing songwriting professionally. His debut album, We Made It Through The Wreckage, was a breakout hit, with lead single “Ol’ Sweet Day” racking up more than 14M streams and earning AHI an NPR Tiny Desk Concert. The attention helped him score a deal with Thirty Tigers for his next LP, 2018’s In Our Time, which garnered a JUNO nomination and led to dates with Patty Griffin, Michael Franti, and Lauren Daigle.
Though much has been made of AHI’s years spent backpacking everywhere from the hills of Ethiopia to the jungles of Trinidad, Prospect, the globetrotting singer/songwriter’s extraordinary new album, is the story of an even more profound journey: an internal quest for understanding and self-discovery. Recorded in Nashville with GRAMMY-winning producer Paul Mabury, the collection is bold and expansive, delivering on the promise of AHI’s first two records with a captivating, immersive sound that showcases the raw power of his gravel-on-silk vocals like never before. The songs here are deeply introspective, looking inward with piercing insight and honesty, and the performances are similarly fearless, blurring the lines between roots, folk, pop, and soul as they grapple with pain and healing, faith and resilience, connection and identity.
Jennifer Hudson was Aretha Franklin's handpicked choice for a biopic portrayal, and she justified the faith with a knockout effort as the Queen of Soul. This compelling film focuses on Aretha's life from the early '60s to the early '70s, as she found her footing as a recording artist despite the successive heavy hands of her legendary minister father (Forest Whitaker), then first husband/manager Ted White (Marlon Wayans). Audra McDonald, Titus Burgess, Marc Maron co-star. 145 min. Widescreen; Soundtrack: English.
In the wake of the hit Broadway musical based upon her life, the legendary Tina Turner delivered unprecedented personal access for this stunning documentary portrait. Between personal reflections at 80 from the rock goddess, as well as never-before-seen archival interviews, Tina holds forth on the meteoric career resurgence that followed the end of her problematic union with Ike Turner; plus observations from Oprah Winfrey, Angela Bassett, Kurt Loder, Katori Hall, more. 118 min. Widescreen; Soundtrack: English
A dynamic force both within the ring and without, ever candid and controversial, Muhammad Ali became one of his era's most consequential personalities as well as athletes-and his legend and legacy receive perhaps their most extensive documentary consideration in this four-part series from Ken Burns, Sarah Burns, and David McMahon. The observations of journalists, historians, and Ali's family and confidantes pair with archival footage for a compelling portrait of The Greatest. 8 hrs. Widescreen; Soundtrack: English.
Led by post-progressive mastermind Bruce Soord and reinforced by Gavin Harrison (King Crimson) on drums and following the release of their latest studio album Versions Of The Truth in September 2020, the band were preparing to start the album’s live campaign, when like so many other artists their plans were put on hold by the continuing global pandemic. Eager to still perform and connect with their fans across the globe, in April 2021, The Pineapple Thief filmed an extravagant on demand live event entitled Nothing But The Truth directed by band videographer George Laycock (Blacktide Phonic/Visual).
One morning, Deb (Glenn Close) opened the door to find her long-estranged addict daughter Molly (Mila Kunis)-claiming she was ready to try and get off drugs for the first time in a decade. With the detox center denying her an opioid antagonist unless she could first stay clean for four days, the wary mother invited her back home for a revelatory if grueling stretch. Fact-inspired effort also stars Stephen Root, Joshua Leonard, Rebecca Field, Chad Lindberg. 100 min. Widescreen; Soundtrack: English.
Super Deluxe contains 5 CDs showcasing the newly remastered album from the original analog tapes along with 4 complete concerts on the Nevermind Tour from Amsterdam, Melbourne, Tokyo and Del Mar, California. Additionally, a Blu-ray of the complete Live in Amsterdam concert video (newly remastered in HD) is included along with a 40-page hardcover book with unreleased photos.
Produced by Dan Auerbach of The Black Keys & The Arcs. "With this record, we wanted to be more transparent," said lead singer Matt Shultz. "We wanted to capture the sentiment of each song, and whatever emotional response it provoked, to be really honest to that." The results are the band's most forceful and focused songs yet. They recorded most of the songs on the 10-song album on the first take, capturing the band's raw and frenetic onstage energy. Their last album, Melophobia, was nominated for a Grammy for Best Alternative Album.
Things Take Time, Take Time is an assured leap forward for Barnett; a breakthrough really. This is Barnett at her most relaxed, creative and joyful. An exquisite look at the intimate, private world created by Barnett and drummer/producer Stella Mozgawa (Warpaint, Cate le Bon, Kurt Vile). It's consequently her most beautiful and intimate record to date.
IDLES return with their new album "CRAWLER" ' an album of reflection and healing amid a worldwide pandemic that stretched the planet's collective mental and physical health to the breaking point. Frontman Joe Talbot says, "We want people who've gone through trauma, heartbreak, and loss to feel like they're not alone, and also how it is possible to reclaim joy from those experiences." IDLES albums have always been anchored by these overarching themes, but the ability of the band to juxtapose beauty and rage with humor and drama has never felt more satisfying than on "CRAWLER." These stories are vividly brought to life through IDLES' most soul-stirring music to date, recorded with co-producer Kenny Beats (Vince Staples, Freddie Gibbs). There are, of course, numerous moments that will inspire absolute mayhem in a packed concert venue, but there are also fresh textures and experiments that push IDLES into thrilling new territory. "I don't really see us as a 'rock band' and working with Kenny [Beats] freed us of the idea of genre," Talbot enthuses. "On this album, our dissolution of ego was helped by Kenny's humble nature and willingness to learn. He has boundless passion for making the best song possible. Not the best 'rock' song ' the best song possible." He continues, "It was writing selfishly that helped make it possible. Reflecting. Telling my own story. Not trying to tell everyone else's story. Not trying to fix the world ' just talking about how I am fixing mine."
The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 1.2 billion streams with over 346 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.
Born in 1999, Charlie Hickey grew up in South Pasadena, just minutes from Downtown Los Angeles. Raised by two singer songwriter parents, Charlie’s second language was music since day one. As early as grade school, he was making sense of the world through songwriting, and by middle school he was writing, recording and performing songs that attracted a community of collaborators and could silence a room.
A turning point for Charlie came at around the age of thirteen, when he covered a song by then up-and-coming artist Phoebe Bridgers, who was still in high school herself. The two quickly became friends and collaborators, setting Charlie on an exciting new musical path. Years later, Bridgers introduced Charlie to songwriter, drummer, producer and her bandmate Marshall Vore, who noticed something special about Charlie. The two began writing and recording songs together, and soon Charlie dropped out of school to work on his music full-time.
Charlie Hickey’s first proper single, out now, is “No Good At Lying.” The Marshall Vore produced track introduces us to Charlie’s evocative storytelling and features Phoebe Bridgers on backing vocals. “I’m no good at lying / on my back or through my teeth / but I’m good at dreaming / I can do it in my sleep,” he sings over hushed guitars and a whimsical banjo, searching for truth as his unconscious mind runs wild and bleeds into reality. It’s a slow, quiet, and understated peek to the world of Charlie Hickey, who is barely of legal drinking age, but taps into such universal themes that showcase a wisdom beyond his years and exudes promise for what’s to come.
What turned out to be Elvis Presley's final Nashville session brought music that was originally overlooked. The original recordings found their way on the holiday themed Elvis Sings the Wonderful World of Christmas (1971), the gospel He Touched Me (1972), Elvis Now (1972) and Elvis (1973). Yet, to hear this music, a half century after it was recorded - now wiped of overdubs - reveals some of the most compelling singing of Presley's career. There may not be a better set of tracks in his catalog that benefits more from un-dubbing the masters. No longer weighted down, Elvis shines. Available on 2 LP's.
Richard Ashcroft is set to release the new album Acoustic Hymns Vol. 1 on November 12th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.
The album finds Ashcroft’s acoustic performances supported by a full band, which brings a lighter touch to songs that originally had a heftier sound such as his debut solo single ‘A Song For The Lovers’ or ‘C’mon People (We’re Making It Now)’. His renowned vocal has gained poise as his career has progressed, giving an added emotional resonance to his most poignant songwriting on ‘The Drugs Don’t Work’ or ‘Sonnet.’ Much of the material that features is drawn from the classic Urban Hymns, an album that Ashcroft and The Verve commenced recording sessions for 25 years ago this October.
In February 2021 Eric Clapton's live shows at The Royal Albert Hall were cancelled due to the global pandemic. Determined to play, he brought his band together in the English countryside. In the absence of a live audience, he decided to record the performances. This release is the culmination of their sessions together at Cowdray House, West Sussex, England. Packaged in a 12x12 hardback photo book. Limited Edition Deluxe CD/DVD/Blu-ray.
This is a limited edition pressing of the 2017 album from All Them Witches titled, Sleeping Through The War. This pressing is limited to 2,500 units worldwide and will be pressed on orange and red swirl vinyl.
On her first-ever holiday album For Christmas, Grammy Award-winning singer/songwriter Amanda Shires invites the world into a fantastically warped wonderland of her own making. Though there’s flying reindeer and fallen tinsel and angels serenely plucking harps, Shires’s finespun storytelling sheds light on the kind of holiday experiences and emotions that often go ignored in Christmas songs: the family drama and forced cheer, burnt-out frustration and elaborate fantasies of escaping off to some far-away tropical island. Mostly made up of original material from the Texas-bred musician, the album unfolds in a selection of piano songs touched with the timeless charm of Brill Building pop—a lovely setting for the luminous vocal presence she’s brought to a series of acclaimed solo albums and to her role as a member of The Highwomen. Revealing an entirely new side of Shires’s idiosyncratic mind, the result belongs to that rare breed of holiday music that feels undeniably resonant at any season of the year.
The follow-up to 2018’s critically lauded To The Sunset, For Christmas marks the realization of a longtime dream for Shires. “I’ve always wanted to make a record that’s true to what Christmas is like for me, and all the mixed emotions that come with it,” she says. “There’s the happiness of being with family, and then the reality that getting a bunch of your family members in the same room is maybe never a great idea. I’m one of those hopeless-romantic types, so there’s the romance and beauty of Christmas but also the sadness, especially when not everybody you’re used to having around gets to be there anymore. There’s a lot of nostalgia in these songs, but there’s a lot of reality too.”
Produced by Lawrence Rothman and recorded live at Sound Emporium Studios in her homebase of Nashville, For Christmas finds Shires working with bassist Jimbo Hart (her bandmate in Jason Isbell’s 400 Unit), pianist Peter Levin (a jazz musician she met while touring with The Gregg Allman Band), guitarist Pat Buchanan (Dolly Parton, The Chicks), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams). Over the course of four hot days in July, Shires and her collaborators laid down the album’s nine original songs and two covers (including Frank Loesser’s “What Are You Doing New Year’s Eve?” and a darkly charged reimagining of “Silent Night”), infusing every track with the unbridled joy of the recording sessions. “We ate a ton of donuts and all wore Christmas hats, and the place was decked out in all these Christmas lights,” recalls Shires, who played fiddle and violin on For Christmas. “It’s hard to be in the studio sometimes, but everybody brought so much fun and humanity to the whole thing.”
Throughout For Christmas, Shires leads her audience on a whirlwind journey through the chaos of holidays, often spiking her nuanced reflection with a bit of goofball humor (“The pressure’s different when you’re writing Christmas songs as opposed to confessional songs or protest songs—there’s a chance to bring some comedy, and get more punny than normal,” she notes). Along the way, Shires presents such gems as “Blame It on the Mistletoe,” a tribute to the dizzying bliss of falling in love at holiday time (sample lyric: “I admit I was feeling a little ho-ho-hopeless/Thinking this crush was just one-sided”). One of several tracks featuring legendary gospel quartet The McCrary Sisters, the sublimely offbeat “Gone for Christmas” slinks along in a Grinch-inspired groove as Shires shares a litany of less-than-orthodox holiday wishes (“I want a date with Larry David/I want Costa Rica or the Caymans/And I want you gone for Christmas”). And on “Always Christmas Around Here,” For Christmas closes out with a riotously true-to-life portrait of the holiday’s aftermath (“A mess in the living room/There’s a wine all over the couch/My sisters aren’t speaking/Who’s crying now?”). “That song was my favorite to put together,” Shires points out. “John Prine had passed away not too long before, and he loved Christmas—he always had a Christmas tree up everywhere, even in the studio. I was thinking about all the problems that come with the holidays, and how difficult families can be, and I know I wrote a song he would say was pretty great.”
Elsewhere on For Christmas, Shires channels everything from lustful whimsy (“A Real Tree This Year”) to glorious catharsis (“Let’s Get Away”) to heavy-hearted longing (on the quietly devastating “Slow Falling Snow”). “What I wanted to do with this record was capture all of my feelings about Christmas, and I’ve still got more feelings to go—it’s so fun I might do it again,” says Shires. “I hope it helps people know that all the feelings are okay, that it’s all right to feel down on Christmas when there’s so much celebrating going on around you. And at the same time I just wanted to give everyone some Christmas songs they haven’t already heard 200,000 times before, and hopefully get them all to sing along.”
Take all of the greatest songs from throughout Florida emo veterans Dikembe's epic and storied discography, remix them in nostalgic 8-Bit form, and toss them in a video game to help promote their latest album, 'Muck,' and you end up with "Game Over."
Vinyl LP pressing. The Nearer The Fountain, More Pure The Stream Flows was originally intended as an orchestral piece inspired by the landscapes of Iceland. This last year has seen Albarn return to the music in lockdown and develop the work to 11 tracks which further explore themes of fragility, loss, emergence and rebirth. The result is a panoramic collection of songs with Albarn as storyteller. The album title is taken from a John Clare poem Love and Memory. Albarn says "I have been on my own dark journey while making this record and it led me to believe that a pure source might still exist."In a career of perpetual musical shifts and exploration, the record uncovers yet more ground, finding expansive orchestral arrangements nestling with intimate melodies, discordance brushing up against infectious majesty, all set to some of Albarn's most arresting vocal performances to date. Much like the beauty and chaos of the natural world it soundtracks, The Nearer The Fountain, More Pure The Stream Flows vividly documents the emotional ebb and flow of the human condition, in all it's extremes, serving as a soul enriching document for our times.
On the heels of their brand new LP Take It From The Dead, New York's Acid Dad transports us to another realm via their Queens, NY studio and the visuals of Webb Hunt. The setlist features some fresh takes on Acid Dad classics + the live debut of new tracks from their upcoming album.
“This was our first attempt at shooting and performing in front of our blue screen rig we made in our studio in Queens. We’ve always talked about doing a blue screen shoot where we could be totally encompassed by CGI FX, but wasn't until quarantine and not having the option to play shows to finally execute the idea. It’s hard to tell, but it was about 110 degrees in there with all the lights going so there is that authentic show time sweat.”
“We reworked a bunch of our older songs with newer tempos and parts to create unique compositions for LEVITATION as well as debuting some newer songs from our upcoming album. It feels strange being off a stage for so long but it’s really exciting being able to attempt to recreate that experience in a multimedia virtual space.” -ACID DAD
Emerging from the shadows, brimming with colour & Nordic charm, CORRO continues to carve out his place within the music sphere with an arsenal of melody & aesthetic, usually reserved for the elite. Honing his talent in the trenches, with former bands DEADLOCKED STATE & Kerbera, CORRO has since embarked on his own formidable journey, signing to Swedish independent label Icons Creating Evil Art in 2019, and releasing a string of unapologetically, boundary bending singles and an EP since.
The Walls Are Way Too Thin follows Holly’s critically acclaimed debut Falling Asleep At The Wheel, which marked the first chapter in the story of a new talent who’s garnered over 150M global streams to-date. Holly wants her lyrics to be the ones people could tattoo on themselves and her songs translate some of life’s most intense feelings in a way that typical conversations all too often fail to capture, from mental health struggles to the feelings of displacement as you grow out of adolescence. Indie Exclusive Clear LP.
Originally released in 1986, Christmas with Ronnie Milsap was Milsap's very first holiday album. The album features Milsap's unqiue take on all of the classics including "I'll Be Home For Christmas," "Silver Bells" and "O Holy Night." For anyone that loves Christmas music with a country flavor, this holiday classic is a must-have.
Sir Rod Stewart’s rekindled love of songwriting grows even stronger on his brand-new studio album, THE TEARS OF HERCULES. This is Stewart’s fourth new album of original songs since 2013 – and his 31st album to date - and for this latest collection, Stewart wrote nine of the 12 songs, including the first single, “One More Time.” In addition to the new tracks, THE TEARS OF HERCULES includes covers of Marc Jordan, Johnny Cash, and more. This is a project close to Rod Stewart’s heart, especially the song “Touchline,” which he dedicated to his father, who taught him and his brothers to love football, a tradition Sir Rod has passed down to his sons. Rod Stewart is one of the best-selling artists in the history of recorded music, with an estimated 250 million records and singles sold worldwide. His signature voice, style, and songwriting have transcended popular music genres, from rock, folk, soul, R&B, and even the Great American Songbook; making him one of the few stars to enjoy chart-topping albums throughout every decade of his career. THE TEARS OF HERCULES will be available on November 12th.
Typically, a band’s big indie label debut doesn’t come15 albums into its career, but with Constant Smiles Paragons, here we are. Primary songwriter and sole “constant” member Ben Jones—who considers ConstantSmiles a collective—sees its impressive output as a way to document the group’s evolution.Since its live debut as a noise duo on Ben’s home of Martha’s Vineyard in 2009, ConstantSmiles has grown to include contributions from 50 other members, all of whom have personal connections to the group’s extended family. And while the collective has indulged an array of musical whims along the way - including Ben’s penchant for penning a new set’s worth of material for each live performance ConstantSmiles’ sound has tightened up considerably over their past couple of albums, in large part as a result of Ben’s working relationship with Mike Mackey, who has become his main creative partner. This increased focus manifests on Paragons in the band’s most cohesive batch of songs to date, ranging from shimmering psych-pop excursions to bittersweet, piano and string-accented strummers, and an execution that feels like a massive step forward for the band.
Through its recent forays into dream pop and shoegaze (Control) and synth-pop (John Waters), ConstantSmiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Artists likeYo La Tengo, and the more recent Rat Columns, are good touchstones forConstant Smiles’ musical approach - tethering to an indie-pop core while perennially mining genres, always finding new ways to intrigue listeners and pursue a unique vision.
Paragons was produced and engineered by Ben Greenberg in the last two weeks of December 2020 at Gary’s Electric, with additional recording done by Ben Jones at his home studio,The Void, and his Aunt Leanne’s house. The album was mixed at Circular Ruin Studio and mastered byJosh Bonati. The band on Paragons consists of Jai Berger (who performed “Introduction”), Spike Currier (bass and synth), Matthew Addison (drums), Emma Conley (violin), Nicky Wetherell (cello), Adam Lipsky (piano), and Ben Greenberg (guitar and Mellotron).
Led by post-progressive mastermind Bruce Soord and reinforced by Gavin Harrison (King Crimson) on drums and following the release of their latest studio album Versions Of The Truth in September 2020, the band were preparing to start the album’s live campaign, when like so many other artists their plans were put on hold by the continuing global pandemic. Eager to still perform and connect with their fans across the globe, in April 2021, The Pineapple Thief filmed an extravagant on demand live event entitled Nothing But The Truth directed by band videographer George Laycock (Blacktide Phonic/Visual).
In his quest for power, the 12th King of Boletaria, King Allant channeled the ancient Soul Arts, awakening a demon from the dawn of time itself, The Old One. With the summoning of The Old One, a colorless fog swept across the land, unleashing nightmarish creatures that hungered for human souls. Those whose souls were stripped from them, lost their minds – left only with the desire to attack the sane that remained. Now, Boletaria is cut off from the outside world, and the knights who dare penetrate the deep fog to free the land from its plight, are never seen again. As a lone warrior who has braved the baneful fog, you must face the hardest of challenges to earn the title “Slayer of Demons” and send The Old One back to its slumber.
Distinctive harmonies driven by their unmistakable voices have made the brothers Gibb musical forces to be reckoned with since the late 1960s. Now, their incredible story is told in this informative documentary that covers everything from sibling strife to their enormously successful disco era to the passings of Maurice, Robin, and their younger brother Andy, and much more. Includes new interviews with Barry Gibb, Eric Clapton, Noel Gallagher, Chris Martin, and others. 101 min. Widescreen; Soundtrack: English.
A limited-edition black vinyl release of the Grammy-award winning U2 album Achtung Baby, to celebrate its 30th Anniversary.
Produced by Daniel Lanois and Brian Eno, and recorded between Berlin’s Hansa Studios and various locations in Dublin, Achtung Baby was released to critical acclaim in 1991 & is regarded as one of U2’s most seminal albums. The album featured five singles: ‘The Fly’, ‘Mysterious Ways’, ‘One’, ‘Even Better Than The Real Thing’ and ‘Who’s Gonna Ride Your Wild Horses’.
Yusuf/Cat Stevens celebrates 1971's landmark album with this 4CD, Blu-ray, 2LP, and 7" set in a rigid clamshell box. It includes the 50th Anniversary remaster of the album on CD/Blu-ray HD Audio completed at Abbey Road by the original producer, Paul Samwell-Smith. Featuring 41 previously unreleased demos, sessions, live tracks, and 21 unreleased TV performances. Plus, an illustrated 108-pg essay book, a 44-pg replica of the original "Teaser And The Firecat" book, and a 7" single of "Moonshadow."
Few artists are storytellers as deft and disarmingly observational as Andy Shauf. The Toronto-based, Saskatchewan-raised musician’s songs unfold like short fiction: they’re densely layered with colorful characters and a rich emotional depth. Like he’s done throughout his career, Shauf wrote, performed, arranged, and produced every song on his new album Wilds at his studio space in the west end of Toronto.
Over the course of a year-and-a-half, Shauf had written more than 50 songs, and pared down this massive body of work, into a single album’s worth of material, which became 2020’s highly acclaimed The Neon Skyline album. These songs focused on a theme by intertwining the individual characters stories of a group of friends who gathered for one night at the same local bar. Wilds includes songs from those same writing sessions, that did not fit into the Skyline storyline and had their own singular identity apart from that album, though he does revisit with his old friends Judy and Jeremy in this outing.
2021 release. Written and largely produced by Tyler Joseph in isolation over the course of the past year at his home studio, with Josh Dun engineering the album's drums from across the country, Scaled And Icy is the product of long-distance virtual sessions and finds the duo processing their upended routines along with the prevailing emotions of 2020 - anxiety, loneliness, boredom, and doubt. The duo had to forgo their normal studio sessions but reached a new of level of introspection in the process, adopting a more imaginative and bold approach to their songwriting. The result is a collection of songs that push forward through setbacks and focus on the possibilities worth remembering.
2021 release, the third installment in the band's New Age Norms series. Over their career, Cold War Kids have fielded music's seismic shifts while simultaneously sticking to their own game plan. Over the course of more than a dozen releases - including studio albums, multiple EPs, and a live album, non-stop tours and the festival circuit's biggest stages, massive radio, sales and streaming successes, the band has become a major part of the modern landscape. Their album New Age Norms 3 is the next chapter with the approach of taking apart the idea of what the band is and just trying to take the doors off a bit to see where it can go.
30th anniversary edition of one of the most iconic albums from The Tragically Hip. Contains 5LPs including the remastered Road Apples album, Saskadelphia, Live at the Roxy Los Angeles, May 3, 1991 and unreleased demos, outtakes & alternate versions. Blu-ray contains Dolby Atmos, 7.1, 5.1, and binaural mixes by Richard Chycki of Road Apples, and 5 cuts from Saskadelphia. Also includes a 36-page booklet, a 1991 24'x 37' promo poster, never-before-seen photos, original lyrics, essays, and more.
Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseurre imagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.
The Willie Nelson Family finds Willie joined in his Pedernales Studios by a host of his family members and extended family of long-time band members, performing songs that they have performed for much of their lives. Sister Bobbie, sons Lukas and Micah, and daughters Amy and Paula all contribute plus band members Mickey Raphael, Kevin Smith and Billy and Paul English. Produced by Willie and Steve Chadie and shaped around a setlist of 12 favorite spirit-driven songs from the Nelson Family repertoire, the album draws on deep Americana (including A.P. Carter's "Keep It On The Sunnyside" and the traditional hymn "In The Garden") while celebrating classic songwriting from Hank Williams ("I Saw The Light") and Kris Kristofferson ("Why Me") to George Harrison ("All Things Must Pass") and Willie Nelson (who penned half of the album's compositions). Willie's son Lukas (who fronts his own band, Lukas Nelson & Promise of the Real) sings lead vocals on two of the album's tracks--"All Things Must Pass" and "Keep It On The Sunnyside"--while sharing lead vocals with Willie on "I Saw the Light," "I Thought About You, Lord" and "Why Me." These songs represent the final recordings Willie made with his longtime drummer and pal Paul English who was Willie’s drummer for over 50 years before he passed away in February 2020.
Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king. Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. 'I wanted it to sound live...When you've got a catalog like Guy's and you're only doing sixteen tracks, you know each one is going to be strong.' Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end Guy leads the listener back to its beginning, namely Guy Clark, which is what any good 'tribute' should do. Guy is a saga of friendship, its ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, Guy is a diamond.
2021 holiday release. Eagles of Death Metal arrive just in time for the holidays with six new recordings to fill your holiday spirit! "Just a few songs to warm your heart during Christmas time. I hope you like them. May Christmas bring peace to you all. Happy Hanukkah, Merry Christmas, Happy Holidays, I love you, and God bless you all." - Jesse Hughes.
The 11 track studio album titled 'Time Flies' will be released by Mid Century Records under exclusive license to BMG.
Time Flies, is an extraordinary collection that fuses intimate subject matter and upbeat guitar-led rock with irresistibly catchy electronic elements. In the half decade since her acclaimed 2016 album Wild Things, Pip has gone through a personal transformation.
Pip has openly struggled with mental health, anxiety and depression for a long time and, after dealing with severe postnatal depression + a serious skin cancer condition which has thankfully seen a full recovery, was able to successfully procure the right balance of therapy & medication which is so individually specific. When she embarked on writing songs for this new record in 2019, there was a sense of freedom in the work. “I was feeling pretty grateful to be alive and making music, so I felt like I didn’t ‘care’ anymore - not in a bad way, I just stopped overthinking it.”
Time Flies was produced with a host of incredible collaborators including, LA songwriter and producer Tommy English (K.Flay, Carly Rae Jepsen, Kacey Musgraves, Adam Lambert, Broods etc), Auckland based Josh Fountain (Leisure, Benee), Jeremy Toy (Leonard Charles, She’s So Rad) , Sydney's Chris Stracey (Bag Raiders, Paloma Faith, Diplo.) and Jono Sloan (Empire Of The Sun, PNAU)
Ray Charles is both one of the most iconic artists of all time as well as one of the hardest to define by genre. At the beginning of his career, he was dubbed the Genius of Soul for boldly combining traditional R&B with Gospel music and giving birth to Soul music. Yet this momentous musical accomplishment was just the beginning of a five-decade career in which he uniquely succeeded in virtually every genre. Ray's unique mastery of music allowed him to continue to explore all forms of music, freely floating between jazz, blues, pop, rock, soul and country while continuing to combine them in new, unprecedented ways. This two (2) disc vinyl collection illustrates the many musical "sides" of Ray by focusing each album side on some of the broader genre categories he visited most.
Geographer captured the interests of many over the last ten years through his unique indie-pop/rock sonic scapes that have solidified his sound. The solo project for Mike Deni, Geographer, is constantly evolving and reinventing his music, which began as an outlet for Deni after his sister's tragic death; born from a place of grief but ultimately capturing the optimism that is inherent to persevering through life. He continues his quest in music exploration with his new album 'Down and Out in the Garden of Earthly Delights' - which he was inspired to name after moving to LA from SF: "Everything feels possible here. Everything should be wonderful. That's the vibe of LA: You've made it to paradise! You should be really happy... and then nobody is. There's a lot of darkness - you have to sift through everything to find your own path." On the track "Giving In," Deni pours his heart out, shortly written after a tough breakup, equating the loss to being "Like when you hear a ringing in your ears and that's the last time you'll ever hear that frequency." The beautiful ballad shows off his pure vocal tone and features a gorgeous string arrangement from Daniel Hart (film composer: 'A Ghost Story' [David Lowery], St. Vincent). Deni's song "Get There Soon" was synced to an episode of the new season of Hulu's 'Love, Victor' & the "Verona (Stripped)" version of his iconic song was also featured in the CW show 'Republic of Sarah.'
Complete, previously unreleased performance by the Grateful Dead on 180-Gram Vinyl with 10th Side Custom Etching, Limited Edition of 12,000. Plangent Processes tape restoration and speed correction, with mastering by Jeffrey Norman, Produced for release by David Lemieux.
One of the shortest-lived iterations of the Grateful Dead was the band that existed December 1971 through March 1972. Jerry, Bob, Phil, Bill, Pigpen, and Keith formed a formidable version of the Dead that only played a few shows together before Donna Jean joined as vocalist, and before Pigpen would depart the stage for good in June 1972. What this sextet lacked in quantity of shows it made up for with creativeness, power, and inspiration. When Pigpen rejoined the Dead on December 1, 1971, after a few months off during which Keith had joined as piano player, the band was now an unstoppably powerful live juggernaut it hadn't been since the height of the Primal Dead era in late 1968-1969. Widely considered one of the best shows from the Pigpen-Keith era of the Grateful Dead, December 10, 1971 in St. Louis has it all: Pigpen singing lead on four songs including an 18 minute version of Good Lovin' and a very rare performance of Run Rudolph Run; a deep dive into the Dead's psychedelic recent past with a monster version of The Other One; plus plenty of the new material from earlier in 1971 like Bertha, Loser, Sugaree, and Playing In The Band. They also hit upon much of the music that would appear the following year on Europe '72, such as Jack Straw, Tennessee Jed, Mr. Charlie, and One More Saturday Night. And no Dead show of this vintage would be complete without the "hits": Truckin', Sugar Magnolia, and Casey Jones all make appearances. This is truly one of the deepest, most dynamic, exciting, and accessible live shows in the entire Grateful Dead canon.
Grateful Dead/Fox Theatre, St. Louis, MO (12/10/71) [Live](5LP)
“We wanted to do something grander than the typical four-piece Converge music.”
That’s CONVERGE vocalist Jacob Bannon talking about the seed of inspiration that eventually bloomed into BLOODMOON:I, the new collaborative album created by the legendary hardcore band alongside dark songstress Chelsea Wolfe, her bandmate/writing partner Ben Chisholm and Cave In vocalist/guitarist Steve Brodsky.
What began as a mutual admiration society between festival bands has grown into a collaborative project featuring the indie music scene’s finest song writers. Harrowing and atmospheric, triumphant and melodious, BLOODMOON:I is CONVERGE as you’ve never heard them before. Produced by Kurt Ballou at his God City Studio.
“It’s hard to find new ways to be creative, but I think we’ve been good at sort of forcing ourselves to do that,” Ballou says. “And this project is no exception. Getting Steve and Chelsea and Ben to contribute with us, we were kind of playing musical Cupid with all of them. But we had a feeling that if we got this group of people together, something powerful would come out of it.”
At 52-minutes, Moonflowers is an eight-song affair that drives deep into the heart of Swallow the Sun main songwriter Juha Raivio's disconsolate soul. From the dramatic "Enemy" and the grim "This House Has No Home" to the delicate "Moonflowers Bloom in Misery" and the beauteous "The Fight of Your Life," Moonflowers is as rewarding and dynamic as it is accomplished and intimate. Gatefold vinyl 2LP + CD-set.
Being in a band is like being in a marriage: sometimes it’s magical, sometimes it’s unbearably challenging. To reinvigorate that marriage, Deap Vally have made their third album a genre-bending experiment with new collaborators and instrumentation that push the limits of what has previously defined the duo - Marriage is their musical Rumspringa, if you will. The album sees Julie and Lindsey break free of the rigid creative constraints within which they previously existed (two members, two instruments, two voices) and invite in collaborators such as KT Tunstall, Peaches, Jennie Vee and jennylee, as well as a range of producers including Allen Salmon, Josiah Mazzaschi and Harvey Mason Jr.
Triple Platinum-selling singer/songwriter and pianist Jamie Cullum returns with his holiday big-band album, The Pianoman At Christmas. Jamie’s most expansive album to date spans 10 original songs, features 57 musicians and was recorded at the hallowed Abbey Road Studios. With production by Greg Wells (Adele, Dua Lipa), the album is sure to become a timeless Christmas staple.
Deluxe CD/DVD edition. Andre Rieu presents his new album, Happy Together - a wonderful and emotional "ode to joy" celebrating the return to life, happiness, and love! For this new album, Andre has personally chosen his favorite songs from all over the world. Fans can look forward to many classics like "Happy Together," "You Are My Sunshine," "Valencia," "Estudiantina," and more. The Dutch King of Waltz is excited to delight millions of fans around the world once again!
On their sophomore release, Whiskey Class channels their fear of growth and change with six brand new songs. The EP was written, produced and recorded in Patrick and Liz's bedrooms over the last year and a half. Tight grooves, layered harmonies and soul soothing vibrations bring the songs to life.
Motown: A Symphony Of Soul features some of Motown’s best known and loved singles now reimagined with new orchestration by the Royal Philharmonic Orchestra. Also included are some beautiful new guest vocalist versions that sit alongside the original vocals laid down over 50 years ago. Beverley Knight joins Marvin Gaye on the seminal “Abraham, Martin & John” and Mica Paris joins Jimmy Ruffin on “What Becomes Of The Broken Hearted.”
For ten years now, I've understood "Oscillate Wisely" as a play on the Smiths' instrumental "Oscillate Wildly"-itself, of course, a pun on Morrissey's muse, Oscar Wilde. This is not to say that anything about Mike Adams and his band reminds me of the Smiths (especially Morrissey), as much as the idea that rock bands like Mike Adams At His Honest Weight take shape more or less as a thesaurus of past ideas-winking at them, borrowing them like a library book, checking them out from across the room, cloning them.But the best stuff is more ineffable, far more than just cut-and-paste. There's a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don't hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny ("funny"), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut. He doesn't want to believe in anything, he didn't create this body, he loves a parade. It's all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when "college rock" entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony. And Oscillate Wisely has demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll's lingua franca as hang-ups and chill hangs. I've never heard any musician summon everything I love about being from Indiana so perfectly. And I'm fucking old.- Eric Harvey
Limited colored vinyl LP pressing. 2021 marks 25 years since Oasis' two iconic record breaking live concerts at Knebworth Park in Hertfordshire on August 10-11, 1996. The shows were both the pinnacle of the band's success and a landmark gathering for a generation of young people. Released alongside the cinema debut of the feature length documentary film of the event, Oasis Knebworth 1996 is the definitive live recording featuring a setlist packed with stone cold classics taken from across both nights of the concert, from the opening salvoes of "Columbia" and "Acquiesce, " to "Champagne Supernova, " "Don't Look Back In Anger, " "Live Forever, " an orchestra backed "I Am The Walrus, " and of course the universally loved anthem "Wonderwall."
De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full-length Straight Out the Jungle opened up many doors that are walked through by artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group's groundbreaking collaboration with legendary house producer Todd Terry, "I'll House You," paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from '88 until '92.
Most known for his role as songwriter and lead singer of punk rock band Pennywise, JIM LINDBERG has been making inspiring, thought-provoking music since the 1990’s. Musically, he is influenced by an array of genres from punk and folk music to old school country and americana. Lyrically, Jim takes inspiration anywhere from transcendental philosophers to real life events; seeking always to tell a story or find the answers to life’s big questions.
This acoustic solo project is the first from JIM LINDBERG. Produced and mixed by Tedd Hutt (Gaslight Anthem, Lucero, Dropkick Murphys) it’s full of heartfelt songs, some rousing some sentimental, that are a departure for Jim but will appeal to diehard Pennywise fans and fans of folky punk singers like Chuck Regan and Frank Turner.
Critically acclaimed soundtrack to Bo Burnham's Netflix musical comedy special INSIDE. Double vinyl LP features all the music from INSIDE, including “All Eyes On Me”, “Welcome To The Internet” and “Bezos I”. Shot and performed by Bo Burnham, alone, over the course of a very unusual year. Nominated for 6 Emmys including best variety series, writing, directing, song, musical direction, and editing. Indie exclusive “coke bottle” clear vinyl in deluxe gatefold packaging
Red-leather-clad and pitchfork-wielding in a playful nod to Grant Wood’s celebrated painting of 1930, Mattiel (Mattiel Brown & Jonah Swilley) proffer songs which ponder the American everyday of the 2020s, serving up an album tasting more like home than ever before. ‘Georgia Gothic’ was shaped by time spent together on the road touring the first two albums - and it's this newfound sense of intimacy that enabled the writing not as two separate musicians, but rather as one creative entity.
Billow Observatory is the project of trans-Atlantic duo Jonas Munk (Denmark) and Jason Kolb (Michigan). Initially planned as a small side-project from their main work in Manual andAuburn Lull respectively, the two quickly realized their collaborative experiments merited more time and attention. Using heavily treated cavernous guitars, subtle synths, and crackling radio transmissions, their self-titled debut was released in 2012 as a double LP and established Billow Observatory as purveyors of unhurried, highly detailed ambient immersion.The release pair of II: Plains/Patterns in 2017, and III: Chroma/Contour in 2019, on Munk's ownAzure Vista Records, introduced a subtle underpinning of rhythm, pulse, and stutter among the washes, expanding their sound with a hint of understated electronica.Marking 10 years since debuting on Felte, 2022sees the release of Stareside, their most forcefully elegant undertaking to date. A record of swaying quarantine temperament, Stareside's 9 tracks thread the needle between hope and hopelessness - daydreaming whilst watching the world go mad in the blink of an eye. Not shy of overt rhythm, soaring motifs, and daunting undercurrents, Stateside veers wildly in new directions, yet keeps one hand near the record bin of comforting nostalgia (think early Warp Records, Jon Hassel, and Conny Plank to name a few).
Gang of Youths say, “The album is about the life and legacy of Dave's father, indigenous identity, death, grief and God. And also the Angel, Islington.”
Despite and indeed because of frontman Dave Le’aupepe’s father’s absence, his influence permeates every talking point that the album offers. At times it’s solely focused upon the precise, personal experiences of loss: the dichotomy of intensity and peace that comes as someone passes through their final days; the overwhelming feeling in the wake of their death that life will never be the same, even if the rest of the world at large remains utterly unchanged.
Although the album is eclectic - influences range from American minimalism and contemporary classical, to drawing upon the legacy of Britain’s alternative/indie scenes, from drum ‘n’ bass to the most transcendent moments of Britpop -- it’s equally rooted in Le’aupepe’s Samoan heritage, with the majority of tracks featuring samples from David Fanshawe’s recordings of indigenous music from the Polynesian islands and the wider South Pacific. ‘angel in realtime.’ also features contributions from a cast of talented Pasifika and Māori vocalists and instrumentalists.