Heading into the spring of 2020, T. Hardy Morris had 12 demos that he thought would make-up his next album, then, everything changed. The world took a break and so his plans to record did as well. As we all watched and waited out the storms; viral and societal, we seemed to wake up scrolling through a whole new century, a time Morris began to refer to as The Digital Age of Rome.
He scrapped the demos and began a collection of songs in quarantine where the unprecedented times and topics were unavoidable. He wanted to document the era sonically and lyrically in some way.
“I wanted it to sound like how the world felt to me in the second half of 2020. Uncomfortable and chaotic, dystopian but still beautiful.”
The Digital Age of Rome was recorded in a deserted downtown Athens, Ga. With long-time collaborator / producer Adam Landry.
Comprised of Naomi “Nai Palm” Saalfield (guitar, vocals), Paul Bender (bass), Simon Mavin (keys), and Perrin Moss (drums),thetwice-Grammy-nominated group Hiatus Kaiyote returns to announce their new albumMood Valiant via Brainfeeder Records / Ninja Tune.
The new project comes after the band has been sampled on songs by The Carters (Beyonce & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper, and Drake — with whom Nai Palm collaborated with onScorpion.
The band travelled to Rio de Janeiro in late-2019 to work on the album with legendary Brazilian arranger Arthur Verocai, which led to the infectious lead single “Get Sun” (feat. Arthur Verocai).
The album was a six year journey, but is more of a hustle than a hiatus — it is an act of love, of courage, of brother-and-sisterhood, of altered perspective.
“Hiatus Kaiyote’s music stretches and bends every parameter.”-Jon Pareles / The New York Times
Nonesuch Records releases an album of songs written and performed by Caroline Shaw and Sō Percussion, Let the Soil Play Its Simple Part. The musicians, who have known each other since their student days, were presented with three days of gratis studio time and decided to experiment with ideas they had begun putting to tape during the sessions for their January 2021 Nonesuch release Narrow Sea. With Shaw on vocals and Sō—Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting—filling out this new band, they developed songs in the studio, with lyrics inspired by their own wide-ranging interests: James Joyce, the Sacred Harp hymn book, a poem by Anne Carson, the Bible’s Book of Ruth, the American roots tune “I’ll Fly Away,” and the pop perfection of ABBA, among others. The album is co-produced by Shaw, Sō Percussion, and the Grammy Award–winning engineer Jonathan Low (The National, Taylor Swift).
Yves Jarvis and Romy Lightman are a pair of idiosyncratic and restlessly creative artists. In the past decade, Jarvis’s ever-expanding swatch have earned international acclaim, while Lightman’s twin-sister-led band Tasseomancy has transfixed listeners since the late 2000s. The Lightman Jarvis Ecstatic Band marks the duo’s first collaboration, slingshotting both musicians out of their comfort zones into spellbinding territories of lysergic folk and impressionistic rock.
Banned was recorded in the tranquil environment of the Tree Museum, an outdoor art gallery in rural Ontario, Canada, hosting residencies for contemporary sculptors over the past 20 years. The pair credit its 200 acres of natural spaces intermingling with human-made creations as the fuel for their unfettered process. Recorded over two weeks in a free-flowing stream of improvisation, the album finds Lightman on synthesizer with Jarvis on drums and guitar, as their voices weave together into an electrified pastoral tapestry.
For both musicians, the creation offered a chance to challenge themselves: Jarvis defying his solitary practice to record with another person, while open jams provided Lightman an alternative to her preference for thoroughly composed songwriting. “This album is a loose manifesto in our shared vision for a way of being,” says Lightman. “It’s about our relationship and the dynamics in that. There’s an epicness to it and tension at times. It’s like the ways particles collide. There’s an alchemical aspect to it with these base components slamming together.”
Vincent Neil Emerson is a torchbearer of the Texas songwriter tradition. He channels the straightforward truth-telling and resonance of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut Fried Chicken and Evil Women proved that he is one of the most reverent students of country and Western musical traditions, his follow-up LP, the masterful Rodney Crowell-produced Vincent Neil Emerson, which is out June 25 via La Honda Records/Thirty Tigers, is a brave step forward that solidifies his place as one of music's most compelling and emotionally clarifying storytellers. His songs are cathartic and bluntly honest, never mincing words or dancing around uncomfortable truths.
Raised in Van Zandt County in East Texas by a single mother of Choctaw-Apache descent, Emerson's world changed when he first heard Townes Van Zandt's music. "To hear a guy from Fort Worth say those kinds of things and make those songs was pretty eye opening," the now 29-year-old songwriter says. "I had never heard songwriting like that before." He's spent the better part of the past decade honing his songwriting and performance chops playing bars, honky-tonks, and BBQ joints across the Fort Worth area. His first album Fried Chicken and Evil Women, which he wrote in his mid-twenties and came out on La Honda Records—the label he co-founded that now includes a roster of Colter Wall, Local Honeys, and Riddy Arman—is a snapshot of his growth as a songwriter and stage-tested charm with songs like "Willie Nelson's Wall" and "25 and Wastin' Time" expertly combining humor and tragedy.
These marathon gigs and the undeniable songs on his debut introduced Emerson to Canadian songwriter Colter Wall, who quickly became a close friend and took him on tour. With Wall's audience, and sold out theater shows on runs with Charley Crockett, Turnpike Troubadours, and many others, Emerson found his niche. "It took a guy from Canada bringing me on tour for people to actually start paying attention," says Emerson. "Before that it was a grind like anything else, just trying to make a living." Crockett is another staunch early supporter of Emerson's and covered Fried Chicken highlight "7 Come 11" on his 2019 LP The Valley.
Like every working musician, 2020 pulled the rug out from under Emerson. With the pandemic shuttering live music venues and cancelling promising tours, he processed the upheaval the only way he knew how: by writing his ass off. His intense and productive writing sessions produced ten finished songs over the course of just a couple of months, a body of work so personal that he knew he would have to name the final product Vincent Neil Emerson. These demos caught the attention of Texas country and folk icon Rodney Crowell, who signed on to produce and record the LP. "Rodney is a hero of mine," says Emerson. "He wanted to make something that serves the songs, as opposed to making a record trying to put focus on production or the playing. It was an honor to work with him." Crowell had similar high praise for Emerson: "if he grows on the public the way he’s grown on me, it’s possible young Vincent will plant the flag of his [songwriting] forebears firmly in the consciousness of a whole new generation." At the studio, Emerson tracked the songs with a crack team of session players put together by Crowell. "Because of them, we were able to get those songs in one take," he says.
The limited edition indie-exclusive vinyl includes a bonus flexi-disc featuring a duet with good friend, Colter Wall.
After his autobiographical debut album, The Good & The Bad, Brooklyn artist/actor Anthony Ramos returns with his sophomore release, Love And Lies, an adrenaline-filled record that leads listeners through a night out filled with lust, passion, and losing oneself in living on the edge. Proclaimed as Ramos’ most matured music to date, the album — like Ramos himself — is multi-genre from pop with “Lose My Mind”, to R&B on “Control,” and the Latin- inspired “Échale.” 2021 is the year of Anthony Ramos.
Gary Allan will be releasing a brand new album of all new material on June 25th. This is Gary's first studio album in over 8 years. Overall, Allan's nine studio and greatest hits albums have produced 26 singles on the U.S. Billboard Hot Country Songs and Country Airplay charts, including the number one hits "Man to Man", "Tough Little Boys" (both 2003), "Nothing On but the Radio" (2004), and "Every Storm (Runs Out of Rain)" (2013). Seven more of his singles have reached the Top 10 on this chart as well: his debut single "Her Man", "It Would Be You" (both at #7), "Right Where I Need to Be" (at #5), "The One" (at #3), "Best I Ever Had" (a cover of a Vertical Horizon song) (at #7), "Life Ain't Always Beautiful" (at #4), and "Watching Airplanes" (#2).
Josh Turner will be releasing a special Deluxe Edition of his double-platinum album, Your Man.The album includes the platinum #1 Song, “Your Man” which was co-written by Chris Stapleton as well as two other Top Country hits, “Would You Go With Me” and “Me and God.” 2021 marks the 15th Anniversary of the album and this special edition includes 3 bonus live tracks that were recorded while Josh was on tour.
Do You Want More?!!!??! is the second studio album by The Roots, released 17th January, 1995 on DGC Records. The band’s major label-debut, it was released two years after their independent debut album, Organix (1993). Do You Want More?!!!??! has been considered by critics as a classic of hip hop jazz. In 1998, the album was selected as one of The Source‘s 100 Best Rap Albums. On 2nd November, 2015, twenty years after its release, the album was certified Gold. 3LP 180 Gram Black Vinyl with 5 bonus tracks & 24 page booklet.
By May 2020, Marc Ribot had begun to find being depressed depressing. The guitarist and his Ceramic Dog trio—bassist/multi-instrumentalist Shahzad Ismaily and drummer Ches Smith—hadn’t played for months. With precautions in place, the trio headed to Ismaily’s Figure 8 Recording studio in Brooklyn and set about capturing eight originals that reflect the era’s uncertainty. “Originally,” Ribot says, “we were going to call it Better Luck Next Time, but that felt… somehow unnecessary.” Throughout Hope, Ribot flexes minimalist storytelling skills to sketch life’s ennui—a kind of pointlessness that goes far beyond existentialism. “This record, versus that last one, has more of the effects of political burnout,” he says—and the overriding passion that drove Ceramic Dog back into the studio is palpably audible on every track.
The Sweet Relief Musicians Fund provides financial assistance to all types of career musicians and music industry workers who are struggling to make ends meet while facing illness, disability, or age-related problems. That life is hard is true, and yet we're graced with gifts that make it easier. One of those gifts is Joey Spampinato. The singer, songwriter and bassist was co-founder of NRBQ, a rock quartet who released their first album in 1969 and whose genre-defying music inspired a generation of music fans and especially other musicians. Many of those musicians answered the call from Kami Lyle, and producer Sheldon Gomberg when they contacted them about recording one of Joey's songs for an album to help raise funds for Joey when it was revealed he was battling cancer. The result is Sweet Relief - A tribute to Joey Spampinato, an inspired album of songs written by Joey and recorded by an astounding group of musicians who are all generously donating their proceeds from these previously unreleased recordings to the Sweet Relief Musicians Fund to support Joey and other struggling musicians. For more information about Sweet Relief Musicians Fund visit https://www. Sweetrelief. org/
Gaspard Auge, best known as one half of Justice, the duo that united rock and rave and whose dancefloor smashes defined a generation, is releasing his debut album. Gaspard made an instrumental album whose sound will be familiar to Justice ’s fanbase , echoing some previous works & inspirations of the cult duet. Escapades sounds like a UFO landing from another galaxy, or time, a baroque masterpiece that reimagines European classical music for this century. Out via Because Music June 25th.
“Devolution Series #2 - Galactic Quarantine” was recorded between July and September 2020 in various places around the world. Originally streamed on September 5th, 2020 on StageIt.com as a replacement show for the COVID affected “Empath Vol 2 European Tour” and various cancelled Summer festivals. The show features Devin on vocals and guitars, Samus Paulicelli III on drums, Wes Hauch on guitars and Diego Tejeida on keys.
Like few rock bands today, BEARTOOTH harness the sacred and profane, and purge inner darkness with a dizzying light. Steadily, without pretension, the fearlessly determined and boundlessly creative midwest powerhouse perfects a sound sought by a generation of bands, equal parts solitary musical confession and celebratory exorcism. Their marriage of colossally catchy choruses and post-hardcore-soaked-in-sweaty-metal is without rival. Its effect is evident by their deeply engaged audience; tours with Slipknot, Bring Me The Horizon, and A Day To Remember; and a RIAA-certified gold plaque.
Peak Vinyl 2-LP:Double LP on “High Noon Somwhere Blue” vinyl in same jacket as standard LP with etching on side D. Full album download included. Ltd edition. Indie Only.
At last it can be told: the story of how, when The Mountain Goats got together in early March, 2020, it was to make not one album, but two. The idea this time around was to work with Matt Ross-Spang, the dashing Memphis wunderkind who'd engineered that album and charmed us all with his gentle wit and old-school savoir-faire. The Memphis album-Getting Into Knives, which came out last October-would be brighter, bolder, marked by rich and vibrant hues; the Muscle Shoals one-Dark in Here, set for release on June 25-quieter, smokier, but more deeply textured and intense. One of the words that John used when we were talking about the direction for Dark in Here was "wild," which I liked a lot. Not wild in the sense of abandon-these aren't those kind of songs. But wild in the sense of something undomesticated, untamable. Wild like the immutability of nature, the way it will take back any piece of untended space as it's own, whether amidst the AutoZones and Chick-fil-A's of Muscle Shoals or among the ruins of a scientific outpost on the Kola Peninsula. Wild like the whale; like a powerful animal. Or a virus-the beast that awakes, emerges from a forest, and stops the world. You can fight the calamity all you want, but either way, it's going to demand your surrender.
Reissue on vinyl of the seventh PJ Harvey studio album White Chalk. The album was produced by PJ Harvey, Flood and John Parish and originally released in September 2007. White Chalk features the singles ‘When Under Ether’, ‘The Piano’ and ‘The Devil’. Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of original co-producer John Parish.
Collection of unreleased demos written for the seventh PJ Harvey studio album White Chalk, including demos of ‘When Under Ether’, ‘The Piano’ and ‘The Devil’. Features brand new artwork with previously unseen photos by Maria Mochnacz. Artwork is overseen by Maria with Rob Crane. Mastering by Jason Mitchell at Loud Mastering, under the guidance of long time PJ Harvey producer John Parish.
La Face de Pendule à Coucou [EP] is an all-Francophone collection of songs from his 2020 release, Hey Clockface. The EP features 2 lead singles: “No Flag” (Parlé) featuring Iggy Pop and “Revolution #49” (Parlé) featuring Isabelle Adjani. Also included is the first commissioned remix by the French collective Tshegue, as well help from longtime collaborator Steve Nieve. Plus, French psychoanalyst/writer/producer Muriel Teodori, and French artist AJUQ. Neon Coral 12” LP. Indie Exclusive.
Motörhead in 1981 was a band of extremes; a flammable mix of non-stop celebration over their rising success and punishing graft, underscored by an inter-band powder-keg dynamic. After recording Ace Of Spades, it had shot to number four in the UK; the killer breakthrough after Overkill and Bomber had done essential groundwork, late 1980’s Ace Up Your Sleeve UK tour was a triumphant lap of honour that spilled into the recording of No Sleep ‘Til Hammersmith. The album took its title from an inscription painted on one of the trucks, referencing the 32 gigs they were playing with only two days off. The track listing ended up featuring three tracks from Ace Of Spades, five from Overkill, Bomber’s title track and two from their self-titled debut. Originally released on 27th June 1981, Lemmy is quoted as saying of it “I knew it’d be the live one that went best, because we’re really a live band. You can’t listen to a record and find out what we’re about. You’ve got to see us.” Upon release No Sleep ‘Til Hammersmith went straight to number one, their first and only in the UK and is still the most necessary live album of all time. The No Sleep ‘Til Hammersmith album; brand new remaster created from the original tapes. Pressed on vinyl as a triple album in a 20 page bookpack. Includes a live album of a newly unearthed, previously unreleased concert from the Short Sharp Pain In The Neck tour.
2LP 140g Vinyl, Gatefold Sleeve with Spot Glitter Varnish & Gloss Laminate Finish, lyric poster w/ D
John Grant's fantastic fifth solo album, Boy from Michigan, finds him at the peak of his powers. Having lived outside of the US for a decade, John is looking back at his childhood growing up in Michigan and Colorado. He documents America in microscopic, painterly detail, and his keen eye and acerbic wit are as sharp as ever. John worked with Cate Le Bon to produce twelve tracks that balance both sides of his musical personality, the battle-scarred piano-man and the grand electronic auteur. In a decade of solo work, he has established himself as one of the great musical chroniclers of the American Dream, viewed mostly from its flipside. He is the misfit's misfit: too weird to be mainstream, too mainstream to be weird; too sad to be happy, too sharp not to crack a mordant joke about it.
Squirrel Flower's heart-rending sophomore album Planet (i), following her 2020 debut I Was Born Swimming, is exactly that. A singular planet, a world entirely of artist Ella Williams' making. The title came first to her as a joke: it's her made-up name for the new planet people will inevitably settle and destroy after leaving Earth, as well as the universe imagined within her music. "Planet (i) is my body and mind, " Williams says, "and it's the physical and emotional world of our planet. It's both."Buoyed by her steadfast vision and propelled by her burning comet of a voice, the record is a love letter to disaster in every form imaginable. Tornadoes, flooding, gaslighting assholes, cars on fire-these songs fully embrace a planet in ruin.As Williams rides from melancholy to jubilance to complete emotional devastation over the course of twelve songs, she carves out a future for herself and those she loves. Planet (i), out June 25, 2021 on Polyvinyl, is at once a refuge, an act of self-healing, and a musical reflection of Squirrel Flower's inner and outer worlds.
Soundtrack of reimagined classic country songs inspired by and included in the 2021 action movie, The Ice Road, starring Liam Neeson. Movie synopsis: After a remote diamond mine collapses in the far northern regions of Canada, an ice driver (Neeson) leads an impossible rescue mission over a frozen ocean to save the lives of trapped miners despite thawing waters and a threat they never see coming.
Somewhere along the way, I got the idea that Richard Youngs’s ‘Sapphie’ was all about a dead dog. I don’t know if someone insinuated this idea in front of me or if I psychologically tethered the title to the tenderly printed dog paw on its cover. Either way, I’ve gone over a decade thinking this remarkable, windswept album of torch songs was about a dearly departed pet. And yet, as we approached a reissue of this Jagjaguwar classic and anew, reimagined version by artists Hypnotic Brass Ensemble, Moses Sumney, Sharon Van Etten, and Perfume Genius, Richard Youngs was straight forward and unsentimental about its meanings. “The lyrics are not about anything in particular,” Youngs wrote. The paw prints on the cover are, in fact, that of a friend’s dog (“The first dog I ever loved,” Richard said.), but there is no devastating loss at its center. And so, I want to tell Richard how this album has become a centering album for a great many of us, a transcendent and meditative piece of art. “What does ‘the mindfulness drill’ have to do with it?” Richard asks dryly me in a note. It’s about being relentlessly present, Richard. It’s how when we listen to your album, we feel like a lonely traveler in a foreign country. How everything has a newness to it and there’s no one to share it with but the you inside of you. And that fine, fine line is where ‘Sapphie’ lives, Richard. Thank you for this, Richard.
The second album from Brooklyn-born artist L’Rain is a sprawling meditation on her own fatigued world. Heavily blending genres (thus making new unnameable space for herself) including but not limited to gospel, jazz, and neo-soul. Wildly innovative yet strangely familiar, ecstatic but sombre, groovy and ambient, Fatigue is a pendulum of emotion and sound that tests the boundaries of joy and of grief, only to discover their beautiful, messy entanglement.
Angel Dream is a special reimagining of the album She’s The One to celebrate the 25th anniversary of its original release. This also brings to a close the celebration of Tom Petty’s masterpiece Wildflowers, as most of the songs on this album were recorded during the same time period. She’s The One included some songs that were left off the original Wildflowers album, recently included in the Wildflowers & All The Rest re-issue. To take the place of those songs, four previously unreleased songs have been added here – two Petty originals (“105 Degrees” and “One of Life’s Little Mysteries”), a cover of JJ Cale’s “Thirteen Days”, and the instrumental “French Disconnection”. An extended version of “Supernatural Radio” is also included. The album has been remixed & remastered and brand new cover art commissioned – emphasizing that this is a Tom Petty & The Heartbreakers album, rather than a soundtrack album.
The Go! Team return with Get Up Sequence Part One featuring the singles 'Cookie Scene', 'World Remember Me Now' and 'Pow'. On Get Up Sequence Part One, Ian, Ninja, Nia, Simone, Sam and Adam have created a musical world distinctly of their own making. A place where routine is outlawed and perfection is the enemy. Where Ennio Morricone meets the Monkees armed with flutes, glockenspiels, steel drums and a badass analogue attitude. We're talking widescreen, four-track, channel hopping sounds that are instantly recognizable.
A definitive new peak in the recorded continuum of prolific producer/percussionist Carlos Niño, elegantly presented in his unique “Spiritual, Improvisational, Space Collage” style. Featuring contributions from more than a dozen exciting voices from the creative music constellation of Los Angeles.
Primal Scream frontman BobbyGillespie has teamed up with solo artist and Savages vocalist Jehnny Beth to release the collaborative album Utopian Ashes, due July 2, 2021 via Third Man Records. The album is heralded by lead single "Remember We Were Lovers" alongside an official video by Douglas Hart (The Horrors, Paul Weller).
This is the tenth anniversary edition of Frank Turner's fourth album 'England Keep My Bones'. This is the album that saw Frank step up from underground, cult status to mainstream success. It features the hit singles 'Peggy Sang The Blues', 'If Ever I Stray' and 'I Still Believe' and 'Wessex Boy' both of which Frank performed at the Olympic Opening Ceremony in 2012. At the end of the album campaign in April 2012 Frank headlined a sold out Wembley Arena. This tenth anniversary edition includes beautiful new artwork.
Six time GRAMMY® Award-winner, and 34-time nominee, Vince Mendoza is considered the foremost arranger of his generation, working with legends such as Björk, Elvis Costello, Sting, and Joni Mitchell. In a new star-studded release, Mendoza returns to his roots as a composer and conductor with a remarkable collaboration—highlighting the Czech National Symphony Orchestra, soprano Julia Bullock, guest artists Joshua Redman,Antonio Sanchez, Derrick Hodge, and The Roots' premier MC Black Thought—for his forthcoming album, Freedom Over Everything, on BMG’s Modern Recordings label imprint.
2021 release. "Better Mistakes, my sophomore album, is by far the most challenging yet fulfilling project I have ever worked on. I wrote, recorded, re-wrote, re-recorded and then repeated that process in order to deliver an album that truly reflects who I am as a singer, songwriter and most importantly as an artist. I want to give listeners a journey of pop paradise fused with elements of rock and hip-hop. It's important to me that my music continues to recognize ongoing themes of vulnerability, the cycle of self-destruction & self-realization, and female empowerment."
Vinyl LP pressing. After receiving widespread critical acclaim, singers, songwriters and producers Jeremy Zucker and Chelsea Cutler unveil their anxiously awaited new EP, brent ii. The five-song brent ii collection hinges on the inimitable collaboration between Jeremy and Chelsea.
Steve Marriner, a versatile and highly skilled musician, songwriter and producer. Winner of nine Maple Blues Awards, two Canadian Indie Music, two JUNOs and one American Blues Music awards as a member of MonkeyJunk. Steve has performed with some of Canada's top blues and rock artists such as Colin James, Sass Jordan and Matt Andersen and Harry Manx under the banner 'Manx Marriner Mainline'
THE REPRISE YEARS (1968-1971) features newly remastered versions of Joni Mitchell’s first four studio albums - Song To A Seagull (1968), Clouds (1969), Ladies Of The Canyon (1970), and Blue (1971). In the case of Song To A Seagull, the original mix has been recently updated by Mitchell and mixer Matt Lee. The cover art for THE REPRISE YEARS (1968-1971) features a previously unseen self-portrait Mitchell drew during the time period and includes an essay by Grammy winning singer-songwriter Brandi Carlile. The collection is presented on four 180 gram LPs in premium packaging and is a limited edition of 10,000.
Vinyl LP pressing. One of the most exciting musical talents to come out of the UK, Laura Mvula returns with highly anticipated studio album, Pink Noise. This album is an example of her newly found light, still reflecting her distinctive signature sound - her inventive, atmospheric mix of R&B, jazz, classical, and pop - but also showing the progression of an artist who has come into her own. Pink Noise is the blend of neo-soul meets art pop in a new cosmic realm filled with confessional lyricism and compelling synth pop."This is the album I always wanted make", says Laura Mvula, "Every corner is made warm with sunset tones of the 80s. I was born in 1986. I came out of the womb wearing shoulder pads. I absorbed the dynamism of the 80s aesthetic right from my first moments on this planet. Wrestling with identity seems to be one of the rites of passage of the established artist. Making Pink Noise felt like the most violent of emotional wrestling matches. It took 3 years of waiting and waiting and fighting and dying and nothingness and then finally an explosion of sound. As if it was always here, this record is my most honest and unapologetic flying of the freedom flag. In my adult years, I had forgotten how important dance was to me as a vital tool of my creative expression. I brought it back, just for me, so I could find my delight in dance again. And now I can't stop dancing."
Rock ‘n’ roll is often hard to define, or even to find, in these fractured musical times. But to paraphrase an old saying, you know it when you hear it.
And you always hear it with The Wallflowers. For the past 30 years, the Jakob Dylan-led act has stood as one of rock’s most dynamic and purposeful bands – a unit dedicated to and continually honing a sound that meshes timeless songwriting and storytelling with a hard-hitting and decidedly modern musical attack. That signature style has been present through the decades, baked into the grooves of smash hits like 1996’s Bringing Down the Horse as well as more recent and exploratory fare like 2012’s Glad All Over.
But while it’s been nine long years since we’ve heard from the group with whom he first made his mark, the Wallflowers are silent no more. And Dylan always knew they’d return. “The Wallflowers is much of my life’s work,” he says simply. That life’s work continues with Exit Wounds, the brand-new Wallflowers studio offering. The collection marks the first new Wallflowers material since Glad All Over.
Exit Wounds, which, true to its title, is an ode to people – individual and collective – that have, to put it mildly, been through some stuff.
“I think everybody – no matter what side of the aisle you’re on – wherever we’re going to next, we're all taking a lot of exit wounds with us,” Dylan says. “Nobody is the same as they were four years ago. That, to me, is what Exit Wounds signifies. And it's not meant to be negative at all. It just means that wherever you’re headed, even if it’s to a better place, you leave people and things behind, and you think about those people and those things and you carry them with you. Those are your exit wounds. And right now, we’re all swimming in them.”
This LP finally brings a Clipping fan-favorite, 2016’s Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that’s exclusive to the vinyl format.
The original, digital-only Wriggle EP was six tracks that weren’t finished in time to make it onto the group’s 2014 Sub Pop debut, CLPPNG. For “Shooter,” Clipping recorded themselves firing fifteen dierent guns, the sounds of which exclusively constituted the beat’s drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of “hashtag rap,” but instead of using it to boast about the rapper’s personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group’s music, “Shooter” was an attempt to reframe a familiar style and test the limits of its formal capabilities. “Hot Fuck No Love” contains what might be the most explicit verse to date from Clipping’s favorite New Jersey rapper Cakes Da Killa. The EP’s title track, “Wriggle,” was built around a sample of the influential power-electronics song “Wriggle Like a Fucking Eel” by Whitehouse, transforming William Bennett’s torturous imperative into a instructional dance-floor banger. “Wriggle” and “Shooter” have become classic Clipping tracks and staples of their live show.
With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs’ thriving acting career - get the vinyl version of Wriggle they’ve been clamoring for.
With her musical project Half Waif, Nandi Rose dives deep into the waters of artistic expression by layering evocative vocals and synths to create a powerful form of pop music. On Mythopoetics, Rose ex- plores a full spectrum of sounds that sparkle with memorable hooks, otherworldly production and uplifting grooves. “This is the record I’ve been trying to make for 10 years,” Rose says.
Previous albums The Caretaker (2020) and Lavender (2018) garnered acclaim for their compelling journeys through solitude, desire and the search for independence. Half Waif declares a new chapter on Mytho- poetics, a collection of 12 new songs – mythical stories that transcend time, each sung with a glorious contralto wrapped up in synths and electronic percussion, and her lyrical piano serving as the backbone. It is an essential reminder that we have the power to shape the stories we tell and the myths we make of our lives. This is music that you feel.
Oliver Wood is a testament to slow and steady wins the race. Born and raised in Boulder, Colorado, he relocated to Atlanta in his early twenties to pursue a career in music. Gaining a reputation over a ten year period as one of the premier working musicians on the local Georgia music scene, he was invited to join blues legend Tinsley Ellis’ road band. From there, Oliver would form his own group, King Johnson, who’d build a loyal regional following. When opening for his brother Chris’ band, Medeski Martin & Wood, he was invited to sit in, which instantly reminded them of the deep musical bond they shared. Soon thereafter, The Wood Brothers were born. They’ve since gone on to release seven studio albums, perform high profile shows from Red Rocks to Bonnaroo and earn a Grammy Award-nomination.
Until the release of “Soul Of This Town” and “The Battle Is Over," in 2020, Oliver had never stepped out under his own name as a solo artist. 'Always Smilin'' is a strong opening statement from Oliver as a solo artist, and one that sets him apart as an accomplished singer and songwriter outside of his day job with The Wood Brothers.
Almost 50 years after the sessions that would make them an “accidental Texas supergroup” (Rolling Stone), The Flatlanders have returned with Treasure of Love, their first new album in more than a decade. Completed during COVID-19 lockdowns with the help of longtime friend and collaborator Lloyd Maines, the record finds the iconic trio of Joe Ely, Jimmie Dale Gilmore, and Butch Hancock in classic form, serving up a rollicking collection of twang-fueled, harmony-laden performances full of wry humor and raw heartbreak. While a few songs here are never-before-heard originals, the vast majority of the tracklist consists of tunes the band picked up during their half-century together, some stretching as far back as the group’s earliest performances in the honkytonks around Lubbock, TX, where you might have spotted Willie Nelson or Townes Van Zandt in the audience.
Largely ignored by press and radio, the initial incarnation of The Flatlanders lasted only a few years before disbanding in 1973. In the decades to come, however, Ely, Gilmore, and Hancock would all go on to considerable success as solo artists, and with the 1990 reissue of their long lost debut, The Flatlanders finally received their due. Critics hailed them as visionaries and craftsmen of the highest caliber (The New York Times dubbed their first LP a “founding document of the alternative country movement”), and the trio would spend the next 30 years collaborating and touring on and off again to widespread acclaim.
1 CD, 1 Limited Edition Poster (2 versions), 1 Photo Book (2 versions), 2 Lyric Cards, 1 Photo Card (1 of 8 each random), 1 Instant Photo Card, 1 Graphic Sticker (2 versions), 1 Folded Message Card (1 of 7 each random), 1 Photo Stand (2 versions). All sales count towards the Korean Hanteo and Gaon charts. Sales will not count toward the US Billboardcharts.
Originally conceived as a medium for Chicago-based multi-media artist/activist Damon Locks’s sample-based sound collage work, Black Monument Ensemble (BME) has evolved from a solo mission into a vibrant collective of artists, musicians, singers, and dancers making work with common goals of joy, compassion, and intention. A genuinely multi-generational collective, ages of BME members range from 9 to 52 years old; members include instrumentalists and fellow IARC recording artists Angel Bat Dawid and Ben LaMar Gay. Their debut album Where Future Unfolds was released in 2019 by International Anthem glowing praise; landing at #3 on Bandcamp’s “Best Albums of the Year,” #25 on WIRE Magazine’s “Best Albums of 2019,” and being repeatedly dubbed “The Best Album of 2019” by BBC/Worldwide radio titan Gilles Peterson.
Locks & BME’s new album NOW was created in the final throes of Summer 2020, following months of pandemic-induced fear & isolation, the explosion of social unrest, struggle & violence in the streets, and as the certain presence of a new reality had fully settled in. Set up safely in the garden behind Chicago’s Experimental Sound Studio, the music was recorded in only a few takes, capturing the first times members of BME had ever played or sang the tunes. For Locks, the impetus was more about getting together to commune and make art than it was about producing an album. In his words: “It was about offering a new thought. It was about resisting the darkness. It was about expressing possibility. It was about asking the question, ‘Since the future has unfolded and taken a new and dangerous shape... what happens NOW?’”
Celebrating 20 years of the Academy Award winning film by Cameron Crowe, the Grammy® winning Almost Famous soundtrack is reissued as a deluxe 2CD with 35 songs from the film including Stillwater, Led Zeppelin, Fleetwood Mac, and many more. Unreleased songs: “Tiny Dancer (Almost Famous Version)” with Elton John & cast and the unique mix & edit for The Who’s “Amazing Journey / Sparks (Almost Famous Version).” Newly expanded artwork includes unreleased photos and an introduction by Cameron Crowe.
MARCO VEZZOSO and ALESSANDRO COLLINA, the jazz duo that has conquered the countries of the Rising Sun!The disc collects 10 of the most beautiful songs of Italian music reinterpreted in a refined instrumental version for trumpet, piano, and percussion. The artists offer a skilful reinterpretation of unforgettable pieces, creating a generational bridge between pop music and jazz.This live version is also a tribute to the artistic partnership between Vezzoso and Collina, which began in Japan and reached China via Cambodia, Indonesia, and Malaysia.In the 'Italian Spirit live' project we decided to invite the percussionist Andrea Marchesini. Andrea is a highly talented and experienced musician who, like us, loves contamination between genres. It was therefore easy for us to integrate Andrea's artistic vein, who adapted very well to our playing. Indeed, he did much more, enriching the pieces with rhythmic details, sometimes almost melodic, without ever being invasive.Since their first musical meeting in 2014, the duo formed by the Piedmontese trumpeter Marco Vezzoso (who since 2012 lives and teaches at the National Conservatory of Nice) and the jazz pianist Alessandro Collina has come a long way. They have 5 albums, numerous concerts between France and Italy and several international tours. In 2015 their first tour in Japan, "Live in Osaka" was recorded and released from a Japanese label. In 2017, a long summer tour takes them to perform in Cambodia, Indonesia and again in Japan, with a closing concert in Tokyo. In 2018 a new tour in Indonesia and Malaysia and a series of concerts in the Czech Republic. In 2019 2 tours in China where they represented Italy at the first edition of the European jazz festival in Guangzhou and a tour in Norway, followed by one in Turkey. The duo ranges from a repertoire of great classics of past and contemporary Italian music to revive emotions in Italians far from their homeland. The interplay and harmony between the musicians, creates an intense musical continuum with a strong emotional impact, which guides the audience on a musical journey within the universe of the duo turned trio.
In front of 1.5 million people, one of the biggest free concerts in history, The Rolling Stones' performance on February 18, 2006, in Rio de Janeiro was a historic event. Fully restored and remastered from their A Bigger Bang World Tour, this includes 4 unreleased tracks: "Tumbling Dice," "Oh No, Not You Again," "This Place Is Empty," and "Sympathy For The Devil." Entire concert on SD Blu-Ray and 2 CDs. 8-panel Digi-Pak. 16-page book.
Three CDs. Little Steven and the Disciples of Soul filmed the final night of their Summer of Sorcery tour in November 2019 at the Beacon Theatre in New York City, NY. The concert audio and bonus tracks are available here on this set.
The infamous MAYHEM return this year with an outstanding EP called "Atavistic Black Disorder / Kommando" with additional material from the "Daemon" session, including a homage to bands that laid the foundation for what was to come! The EP will be released on July 9th.
The lords of darkness have dug deep and reflected their influences to create a musical odyssey that shows them multifaceted in several ways.
For this goal, cover versions of bands like DISCHARGE, DEAD KENNEDYS, RUDIMENTARY PENI and RAMONES were chosen, which in typical MAYHEM manner impressively fit into their bursting and darkened sound.
The band also recruited BILLY MESSIAH and MANIAC, who took over vocal performances on two songs!
In addition to the named cover versions, a previously unreleased track called "Voces Ab Alta" is featured on the EP, which continues the musical journey alongside "Black Glass Communion" and "Everlasting Dying Flame", which were used as bonus tracks for the 2019 album "Daemon".
The EP thus closes the capital, which was opened with the release of "Daemon" back in 2019 and illuminates the band once again in typical unusual and surprising-sounding way.
The visual concept was once again handled by Italian designer Daniele Valeriani (Lucifer's Child, Dark Funeral) who already took care of the artwork for their previous long player "Daemon".
The band comments:
"I always had some punk influences," says Attila. "I guess it comes from my childhood when we were constantly looking for more extreme music. That's how I discovered Dead Kennedys, GBH, The Exploited, Sex Pistols, U.K. Subs, Discharge, Rudimentary Peni and so on, in the early 80's, alongside heavy metal. But then I discovered Venom, that was a game changer!"
Century Media - ATAVISTIC BLACK DISORDER / KOMMANDO - EP / MAYHEM
Irish rock band Inhaler’s debut album ‘It Won’t Always Be Like This’ is a record that sees Elijah Hewson, Josh Jenkinson, Robert Keating and Ryan McMahon turn their early promise into something special - an album teeming with expansive indie-rock grooves and soaring anthems. Includes the single ‘Cheer Up Baby’, a swooping, epic singalong alongside newly recorded versions of early fan favorites ‘My Honest Face’ and title track ‘It Won’t Always Be Like This.’
Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get through the pandemic.
Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium, and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls.
This year, the Lu's Jukebox Series will be made widely available on Vinyl and CD. Volume 1, Running Down A Dream: A Tribute to Tom Petty, was released on April 16, 2021, and featured songs from the namesake's celebrated career.
Lu's Jukebox Vol. 2 - Southern Soul: From Memphis To Muscle Shoals will be released on July 9, 2021, and features a collection of classics from Ann Peebles to Al Green to Otis Redding and more.
Vinyl LP pressing. Since forming in high school, Brisbane band The Goon has been celebrated for their unpretentious, kinetic homemade pop. Mirror ll, The Goon Sax's third album and first for Matador, is something else entirely: a new beginning, a multi-dimensional eclectic journey of musical craftsmanship that moves from disco to folk to no wave skronk with staggering cohesion. Gone are the first-person insecurities of their school days - they've been made expansive, more universal, more weird.
Joy Oladokun - "in defense of my own happiness (complete)" Following the release of her critically acclaimed album, Nashville-based singer-songwriter and producer Joy Oladokun unveils the "complete" installment of her album series, in defense of my own happiness. The timeless body of work eloquently exudes Joy's deep emotions and confessional leanings as a black woman living in America. This is only the start of a breakout year for the fast-rising Nigerian-American songstress. Includes new songs "judas" and "the beginnings" chapter. EXPLICIT
Whispering Sons have captured Belgium's hearts, selling 10K records (that's gold record standard in Belgium), opening mainstage Rock Werchter and being nominated for 4 MIAS. Known for their dark and unique blend of experimental and frenetic post-punk, they follow their 2018 debut Image with Several Others. Having retreated to the Ardennes last summer to work on new material, the band took the strongest parts of their earlier work and refined it even further with a strong focus on their greatest strength - sheer, unpretentious intensity. Whispering Sons have constantly outstripped their own expectations, and with every momentous step forward, they redraw the boundaries of what they consider possible, then duly go beyond them yet again. "Every song we write is closer to the thing we really want to do. Without making compromises," Fenne says.
Sob Rock is the new album from John Mayer, and this collection marks the artist’s eight full length studio album. Sob Rock is produced by John Mayer and Don Was, and most of the album was recorded during the global pandemic of 2020- 2021. The album was launched with the single and video, “Last Train Home.”
John Mayer emerged in 2001 with his debut album, Room For Squares. He has sold over 20 million albums worldwide, including three # 1 debuts on the Billboard Top 200 with the triple platinum Heavier Things in 2003, the double platinum Battle Studies in 2009, and the gold certified Born and Raised in 2012. His 2017 album, The Search For Everything, debuted at # 2 on the Billboard Top 200, and has also been certified gold. Additionally, he has earned 7 Grammy® Awards.
Debut album from Cleveland born, NYC-based multi-instrumentalist, producer, singer-songwriter, and artist Cautious Clay. Deadpan Love, which includes previously released singles “Roots,” “Dying In The Subtlety,” and “Agreeable,” warps influences from R&B, Hip Hop and Indie Pop in Cautious’ trademark sophisticated songwriting and jazz- and blues-inflected instrumentation. “Deadpan Love explores the ways I cope with the worst of what humanity has to offer,” says Cautious. “It’s about opposites—having an outer layer that’s tougher, this “deadpan” state, and an inner layer of compassion, where you’re open to being there for the people you care about. It’s this warring compassion and cynicism that has empowered me to express myself through this medium.”
200 km/h in the Wrong Lane, also titled t.A.T.u. in Japan, is the second, and first English-language, studio album by Russian music duo t.A.T.u., released on 10 December 2002, by Interscope Records. Coke Bottle Clear LP
The explosion of indie Hip Hop labels in the early 90s resulted in an ongoing snowball effect that started to shift the narrative around an artist’s need to sign to a major label. Coincidentally, quality home recording equipment was also becoming more easily accessible and, with the rising popularity of CD-R technology, this allowed artists to write, record, and manufacture their own albums right at home.
Appleseed was a highly celebrated and influential release from that era, cementing Aesop Rock as a new face whose talent could not be denied. The album explores creative concepts with inventive writing and stripped-down yet melodic and melancholic production. Six out of the eight songs were produced byAesop Rock, with OmegaOne producing “Sick Friend” and longtime collaborator Blockhead handling “1000 Deaths”, and the project’s sole guest lyricist was Doseone.
The DIY process was followed in every aspect, as Aesop himself recalls, “I did the Appleseed hand style while working at Tepper Galleries in NYC. The cover was made at Kinko’s. The first Appleseed CD’s were CD-R’s I duped at home and sold from my backpack at an MF DOOM show at Brownies, which was right below my apartment at the time. I continued to sell hand to hand inNY, while Blockhead started fielding some mail orders from a young internet. People would send us cash or a check, and he’d cut the covers out and mail them off.“
The two of them were able to move a couple thousand CDs that way before turning their attention to newer projects, particularly Float in Aesop’s case. As a result, Appleseed went out of print for many years before resurfacing as a merch item on tour. However, in all that time it was only available on CD, directly from Aesop.
Finally, 21 years after its debut, Appleseed officially returns, now available on vinyl for the first time!
Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018.
During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society.
“Take It From The Dead” features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound.
At the top of 2020, after a year of traversing the globe in support of 2019’s Run Fast Sleep Naked, Nick Murphy began creating music that simply felt good. Though the singer had retired his billionstreaming Chet Faker project four years prior, the new songs he was working on in his New York City studio had an energy reminiscent of his earlier work. Reviving the project “wasn’t on my radar” at the time, Murphy admits, but the next thing he knew, he had a full album. The result is Hotel Surrender, a radiant 10-track LP full of swaggering bass lines and electrifying melodies that reintroduces Chet Faker to the world – and to Murphy himself. Like his debut LP, 2014’s Built on Glass, Murphy wrote and produced Hotel Surrender solely on his own, finishing most of the songs before COVID-19 hit in March 2020. He admits that before Hotel Surrender, he had never approached his process with such ease. This time, as the album title suggests, he surrendered to the music. “There was this, like, unconsciousness—not thinking, but just feeling, letting it come out and letting it steer itself,” Murphy says. “The great lesson for me was that I could write from a place of joy. I was also just being kind to myself. None of this music was hurting, it just felt good. It made me feel better, and it helped me be better.”
A much-deserved and open armed 20th anniversary celebration of Opeth’s magnum opus. Two decades in and still a breath-taking piece of work, dense with extraordinary melodic moments, spine-tingling atmospherics and agile but crushing heaviness, and one that saw the Swedish metallers kick open prog’s ornate doors, fed death metal through the cosmic kaleidoscope and introduced a generation of music nerds to a world of limitless musical possibilities. The reissue comes lovingly pressed with a variety of deluxe finishes and housed in a gatefold artwork sleeve, with updated liner notes and acknowledgements. The deluxe hardcase CD comes furnished with an updated artwork booklet complete with new liner notes, never seen before memories from the band, and exclusive content provided by the Opeth fanbase. It remains a must for Opeth enthusiasts, completists and casual listeners alike.
Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound. With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.
Demon Records presents Distortion: Live, the fourth and final edition in a series of expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. The final volume in the series features 8LPs of live recordings from across Mould’s solo career.
Red Rocks 2020 covers an amazing range of music from Nathaniel Rateliff’s celebrated career, including several jewels from his solo albums (And It’s Still Alright, In Memory of Loss, Falling Faster Than You Can Run, Shroud EP) and “Still Out There Running,” a haunting track from Tearing at the Seams, his much-loved 2018 LP with the Night Sweats. Also, Kevin Morby joins Rateliff and the band for an amazing version of Leonard Cohen’s “There Is a War.”
Global superstar Tones And I has announced her widely anticipated debut album, Welcome To The Madhouse, which will arrive worldwide on July 16th. Welcome To The Madhouse stands out as a deeply reflective and personal body of work for Tones And I, with the Australian artist writing the entire album by herself and co-producing every song.
Tones And I commented on the significance of Welcome To The Madhouse explaining, “This album for me is very up and down and reflects the forever changing emotions in me.There are songs on the album that were written before ‘Dance Monkey,’ about not knowing if busking was right for me. There are songs about my good friend T passing away and not wanting to deal with those emotions. The ups and downs of life in lock down and the mental challenges / struggles. Some songs make me laugh and some make me cry but there is no running theme or vibe to the album - the songs are unique to how I was feeling the day I wrote them.”
Regarding the album's lead single, “Cloudy Day,” Tones And I elaborated on the single’s origins noting, “After my friend T passed away I was struggling to write any songs that were happy or that I even liked. I met up with a friend who told me this saying from his late mum – ‘on a cloudy day, look up into the sky and find the sun.’ I knew I wanted to use that as a lyric and the next time I went into the studio I wrote ‘Cloudy Day.’”
Tones And I Initially laid the foundation for Welcome To The Madhouse last year with the release of “Fly Away,” a poetic and powerful composition which has amassed over 190 million streams with Tones And I delivering performances of the song on Jimmy Kimmel Live! and The Ellen DeGeneres Show. She followed it up in 2021 with the release of “Won’t Sleep,” which arrived alongside a Tones And I, Nick Kozakis and Liam Kelly directed official music video continuing what has become a tradition of highly unexpected and unforgettable visuals. Both tracks reflected the inimitable idiosyncrasies of Tones And I’s signature style, highlighting her clever lyricism, unpredictable songcraft, and indisputable knack for a hook
As her name indicates LoneLady writes, performs and records all the components of her music, building up her own soundworlds in a solitary creative process. Whereas previous albums at least allowed the occasional appearance of another human - a drummer - with Former Things even that has now gone. This time, LoneLady has programmed all the beats and sequences, swapping her Telecaster guitar for an eclectic selection of synthesisers and hardware, their limitless creative potential providing the foundations to take the album in a new direction. Former Things is a glowing assemblage of memory we want to preserve: a myth that we protect in our minds, to remember across the ages and inspire us always.
Music from The Allman Brothers Band—Live At The Atlanta International Pop Festival was initially released by Columbia Records in 1971 and featured select cuts from sets by ABB, Jimi Hendrix, Johnny Winter, Poco, Sly and the Family Stone and others. The Allman Brothers Band Atlanta Pop set was issued in full by Sony Legacy in 2003. The Allman Brothers Band formed in 1969 and their epic live performances and platinum-selling records would make them one of the biggest rock bands in America. They’re members of the Rock & Roll Hall of Fame and have received the Grammy Lifetime Achievement Award and Billboard’s Legend Of Live award. The group played their final show in 2014. Earlier this month, the group announced the October 16, 2020 releases of The Final Note (Duane Allman’s last show in 1971) and The Best Show You Never Heard (a band-favorite live show from 2005).
Republic Records and Warner Bros. Pictures present the soundtrack to Space Jam: A New Legacy, the mega- anticipated animated/live-action film opening in theaters across the U.S. and on HBO Max on July 16. The first single, “We Win (Space Jam: A New Legacy)” debuted at #1 on the Billboard Hot Gospel Songs chart and unites multiplatinum GRAMMY® Award-nominated rapper Lil Baby with 16x GRAMMY® Award-winning multiplatinum gospel icon Kirk Franklin over a beat from Just Blaze [Eminem, JAY-Z.]
To accompany the unrestrained awesomeness of DC’s Dark Nights: Death Metal comic series, executive producer/composer Tyler Bates (Guardians of the Galaxy, John Wick) presents the Dark Nights: Death Metal soundtrack. Directly inspired by the comic series’ storyline, the diverse soundtrack illuminates the darkest corners of each DC character’s psyche. Limited Edition Red 7" Single Flexi Disc. Packaged in polybag with comic book. Indie Exclusive.
To accompany the unrestrained awesomeness of DC’s Dark Nights: Death Metal comic series, executive producer/composer Tyler Bates (Guardians of the Galaxy, John Wick) presents the Dark Nights: Death Metal soundtrack. Directly inspired by the comic series’ storyline, the diverse soundtrack illuminates the darkest corners of each DC character’s psyche. Limited Edition 7" Single Flexi Disc. Packaged in polybag with comic book. Indie Exclusive.
To accompany the unrestrained awesomeness of DC’s Dark Nights: Death Metal comic series, executive producer/composer Tyler Bates (Guardians of the Galaxy, John Wick) presents the Dark Nights: Death Metal soundtrack. Directly inspired by the comic series’ storyline, the diverse soundtrack illuminates the darkest corners of each DC character’s psyche. Limited Edition 7" Single Yellow Flexi Disc. Packaged in polybag with comic book.
They look like we do, and may live somewhat the same. Yet, they are multiplied. Where once was Superwolf, now are Superwolves. What world, REALLY are Matt Sweeney and Bonnie 'Prince' Billy from? A place of all-music, knowing no borders, no morals other than natural tribal lines to be violated in the name of love and light, for all together.
Charlie Benante, the legendary drummer from Anthrax, has released Silver Linings, a solo project with a lot of help from his friends. When COVID hit hard and stay-at-home orders were issued, Anthrax's Charlie Benante found he had all kinds of time to rediscover and fall in love again with music he hadn't listened to in a long time. That gave him a great idea, and he enlisted musician buddies to get together and jam these great songs. Charlie's new album, Silver Linings, is those jams.
Charlie Benante's first solo album. With special guests on each track including Run-DMC.
"More than being just the band's drummer, Charlie brings a variety of skills and talents to Anthrax. Long before recording begins, Charlie starts writing a plethora of riffs for new songs, then emails them to Scott Ian and Frank Bello - these are the three main writers for all Anthrax songs. The three flesh out the ideas over email, then get together in a rehearsal studio to begin the serious writing. Benate also conceives and oversees all of Anthrax's artwork, including the packaging for the band's album/single/DVD/reissue releases, ads, marketing tools, and merchandise items. Outside of Anthrax, Charlie has his own line of coffee, Dark Matter, and is an obsessive collector - paraphernalia and rarities from "The Simpsons," "The Nightmare Before Christmas," and "Star Wars," as well as a scaled-down replica of the shark from "Jaws."
Alice Coltrane is the undeniable godmother of spiritual jazz and an acknowledged influence on everyone from Flying Lotus and Kamasi Washington to Solange and Radiohead. Turyia Sings was originally released in 1982 on cassette as a collection of devotional songs including vocals, organ, strings, and synthesizers available only at Alice’s Sai Anantam Ashram. Kirtan: Turiya Sings features a sparser arrangement of organ and chanting, produced by Ravi Coltrane.This is intentional, devotional music created with the purpose of connecting to a higher power.
Chloe Flower is a visionary, a powerhouse, an icon, an activist, a fashion influencer, and so much more. Bridging the gap between classical and pop, Chloe’s self-created Popsical genre embodies sweet melodies, epic strings, and hip-hop beats blending with impressive aplomb.
Chloe has been working on her eponymous debut album for over a decade. Living through the COVID-19 pandemic not only changed Chloe’s life, but also the course of her music. The stay-home period was a clear signal to take ownership and to create an album which matters and speaks volumes. Chloe’s album is divided into three acts — (I) Innocence, (II) Suffering and (III) Hope — and book-ended by a prelude and finale that redefine classical crossover. It features spoken word from Deepak Chopra and an interpretation of Billie Eilish’s chart-topping hit ‘Bad Guy.’
Of her album Chloe states: “I was thinking about the life cycle. You start with innocence; born with a clean slate. Throughout life there is suffering which hardens you. But there’s always hope for change, something better. I want people to listen to the album as a whole body of work, which is why there is a prelude and finale in addition to the three acts. The ultimate goal was to make an album that inspires listeners, and makes people hopeful. It’s new and edgy — a sound that is authentic to me. Though my music doesn’t have lyrics, I still have something to say.”
Vinyl LP pressing. Myths and truths of a country on the way down, viewed through a deep-focus lens trained on the city from the deserts on the east; a terminus of unoccupied residential parks and streets fading into craggy footpaths to nowhere, where our passage is seen as diligent, ephemeral and grotesque by turns, forgiven and made beautiful again by the sound.
As the biggest-selling U.K. breakthrough artist of 2020 with his debut LP Dissimulation and scoring six Top 10 singles including collaborations with Rick Ross, Trippie Redd and Tion Wayne, alongside latest hits with Craig David, Anne-Marie and Yungblud, Olajide 'JJ' Olatunji aka KSI returns with his highly anticipated second studio album, All Over the Place. The 14-track LP includes the three previously released singles "Really Love," "Don't Play" and "Patience" as well as new tracks with features from rappers Future and 21 Savage, music artist Jay1, singer Gracey and more.
Forest Green Vinyl. Across two records that spoke to the quietest of bleeding hearts, Harmony Woods expanded on processing grief, trauma, and other aftermaths. GRACEFUL RAGE-their third and Bartees Strange-produced LP-allows revelations to blossom on their own terms. It's the Philly band at their most aware and assured, snug behind a radio-ready punch.
Scott Pilgrim vs. The World Soundtrack - Ramona Flowers Edition LP is pressed on three separate colors of vinyl, randomly inserted into packaging: Translucent blue, green, and magenta. Each color is associated with Ramona Flowers’ hair in the film.
Through Ignorance, Tamara Lindeman has remade what The Weather Station sounds like, using the occasion of a new record to create a novel sonic landscape, tailor-made to express an emotional idea. Ignorance is sensuous, ravishing, as hi-fi a record as Lindeman has ever made, breaking into pure pop at moments, at others a dense wilderness of notes; a deeply rhythmic and painful record that feels more urgent and clear than her work ever has. The natural world is everywhere on this record, intruding with force and poignancy.