April 23 street date. Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians who've taken on jazz as their musical narrative. On his new album "Bring Backs" the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, "Antiphon" and the 2019 album "Structuralism" were both self-released on his Sekito label. His latest endeavour, 2021's "Bring Backs", sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.
April 23 street date. Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians who've taken on jazz as their musical narrative. On his new album "Bring Backs" the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, "Antiphon" and the 2019 album "Structuralism" were both self-released on his Sekito label. His latest endeavour, 2021's "Bring Backs", sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.
April 23 street date. For nearly two decades, Hayes Carll has been making consistently great singer-songwriter records, influenced by the back-porch songcraft of Townes Van Zandt and Guy Clark. While off the road in Nashville for his longest stretch in years, Carll had the chance to revisit some of his best material - which he reimagines on a new acoustic album, "Alone Together Sessions". The collection includes duets with his wife Alison Moorer and Ray Wylie Hubbard. "Alone Together Sessions" is a loose, soulful, and ruff hewn collection of some of Carll's finest performances to date.
April 23 street date. Here is "Sweep It Into Space", the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And "Sweep It Into Space" is a masterpiece of zoned dialing. The only extra musician used this time with Kurt Vile, who co-produced the album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. But there are very few moments where you wouldn't know you were hearing Dinosaur Jr. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with "Sweep It Into Space", without ever losing their central core.
April 23 street date. Here is "Sweep It Into Space", the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And "Sweep It Into Space" is a masterpiece of zoned dialing. The only extra musician used this time with Kurt Vile, who co-produced the album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. But there are very few moments where you wouldn't know you were hearing Dinosaur Jr. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with "Sweep It Into Space", without ever losing their central core.
April 23 street date. Here is "Sweep It Into Space", the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And "Sweep It Into Space" is a masterpiece of zoned dialing. The only extra musician used this time with Kurt Vile, who co-produced the album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. But there are very few moments where you wouldn't know you were hearing Dinosaur Jr. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They
continue to expand their personal universe with "Sweep It Into Space", without ever losing their central core.
April 23 street date. Klô Pelgag’s “L’alchimie des monstres” is her debut album. Originally released in 2013, this will be its first reedition. It over critics and fans alike, while also leading her to win the “Breakthrough Artist of the Year” award at the 2014 Gala de l’ADISQ, some Prix Barbara in France in 2015, the title of “Révélation chanson Radio-Canada 2014-15,” the 2014 Grand Prix de la francophonie awarded by L’Académie Charles Cros, the Prix Miroir for “Célébration de la langue française” at the 2013 Festival d’été de Québec, and the Prix Rapsat-Lelièvre. She toured several francophone countries to present the songs of that album, giving more than 200 concerts in Quebec, Belgium, France and Switzerland. “Her debut album is unlike anything we have ever heard.” – Libération “She deserves our full attention.” – Télérama “An irresistible invitation to enter a rich, eclectic world.” – L’express “Wild poetry and brilliant orchestration allow L’alchimie des monstres to rank highly” 8/10 – Le Canal Auditif "She has an incredibly captivating voice, with which she can seemingly do anything." – Le Droit "The lyrics are heightened by the various instruments to create a unique recipe that one could never grow tired of." – La Bible Urbaine
« L’alchimie des monstres » est le premier album de Klô Pelgag. Sorti originellement en 2013, ce sera sa première réédition. Elle rafle plusieurs prix, notamment celui de la « Révélation de l’année » au Gala ADISQ en 2014, le Prix Barbara du ministère de la Culture française, le titre de « Révélation chanson Radio-Canada 2014-2015 », le Grand Prix de la Francophonie de l’Académie Charles Cros, le Prix Miroir Célébration de la langue française au Festival d’été de Québec ainsi que le Prix Rapsat-Lelièvre. Elle sillonne les quatre coins de la francophonie pour présenter les pièces de cet album et donne plus de 200 concerts, du Québec à la Belgique, de la France à la Suisse. « Son premier disque sonne comme rien de déjà entendu » – Libération « Elle mérite vraiment qu’on l’écoute et qu’on s’intéresse à elle » - Télérama « Une belle invitation à entrer dans un univers foisonnant » – L’express « Une poésie folle et une orchestration réussie qui confèrent à L’Alchimie des monstres une place de choix » 8/10 - Le Canal Auditif « Elle captive par son incroyable voix, avec laquelle elle semble tout pouvoir faire. » - Le Droit « Les paroles viennent appuyer les divers instruments pour créer une recette unique dont il est impossible de se lasser. » - La bible urbaine
April 23 street date. Klô Pelgag’s “L’alchimie des monstres” is her debut album. Originally released in 2013, this will be its first reedition. It over critics and fans alike, while also leading her to win the “Breakthrough Artist of the Year” award at the 2014 Gala de l’ADISQ, some Prix Barbara in France in 2015, the title of “Révélation chanson Radio-Canada 2014-15,” the 2014 Grand Prix de la francophonie awarded by L’Académie Charles Cros, the Prix Miroir for “Célébration de la langue française” at the 2013 Festival d’été de Québec, and the Prix Rapsat-Lelièvre. She toured several francophone countries to present the songs of that album, giving more than 200 concerts in Quebec, Belgium, France and Switzerland. “Her debut album is unlike anything we have ever heard.” – Libération “She deserves our full attention.” – Télérama “An irresistible invitation to enter a rich, eclectic world.” – L’express “Wild poetry and brilliant orchestration allow L’alchimie des monstres to rank highly” 8/10 – Le Canal Auditif "She has an incredibly captivating voice, with which she can seemingly do anything." – Le Droit "The lyrics are heightened by the various instruments to create a unique recipe that one could never grow tired of." – La Bible Urbaine
« L’alchimie des monstres » est le premier album de Klô Pelgag. Sorti originellement en 2013, ce sera sa première réédition. Elle rafle plusieurs prix, notamment celui de la « Révélation de l’année » au Gala ADISQ en 2014, le Prix Barbara du ministère de la Culture française, le titre de « Révélation chanson Radio-Canada 2014-2015 », le Grand Prix de la Francophonie de l’Académie Charles Cros, le Prix Miroir Célébration de la langue française au Festival d’été de Québec ainsi que le Prix Rapsat-Lelièvre. Elle sillonne les quatre coins de la francophonie pour présenter les pièces de cet album et donne plus de 200 concerts, du Québec à la Belgique, de la France à la Suisse. « Son premier disque sonne comme rien de déjà entendu » – Libération « Elle mérite vraiment qu’on l’écoute et qu’on s’intéresse à elle » - Télérama « Une belle invitation à entrer dans un univers foisonnant » – L’express « Une poésie folle et une orchestration réussie qui confèrent à L’Alchimie des monstres une place de choix » 8/10 - Le Canal Auditif « Elle captive par son incroyable voix, avec laquelle elle semble tout pouvoir faire. » - Le Droit « Les paroles viennent appuyer les divers instruments pour créer une recette unique dont il est impossible de se lasser. » - La bible urbaine
April 23 street date. “L’Étoile thoracique” is Klô Pelgag’s second album. Initially released in 2016, this will be its first reissue. Carrying an entire universe of baroque, absurd songs, the damsel charms and unsettles us with her gorgeously crafted music driven by an instinctive desire to challenge her own purpose. “What I write is always full of contrasting elements, because I enjoy baffling myself. When everything fits together too neatly, it can quickly become tiresome.” This resulted in the 13 tracks of “L’Étoile thoracique”, a freewheeling fresco that has the artist weaving a sprawling concerto. “Science-fiction and magic realism streak concrete situations that go beyond poetic flights of fancy – romance, desire, self-surrender, insomnia, fantasies about the wax figures of the Grévin museum” ???? - La Presse “The lyrics convey images that are alternately clear and impressionistic” - ICI Musique “With her fluid, mischievous voice, Klô Pelgag never forgets to touch upon the grey, engulfing nuances of melancholia” - Libération
« L’Étoile thoracique » est le deuxième album de Klô Pelgag. Sorti originellement en 2016, ce sera sa première réédition. Portant sur son dos un univers chargé de chansons, de baroque, et d’absurde, la demoiselle séduit et déstabilise en déployant une musique finement concoctée et qui braque les feux sur un désir instinctif de la créatrice à confronter ses propres fins: « il y a toujours un contraste dans ce que j’écris, parce que j’aime me désarçonner, parce que quand tout est en accord, ça peut vite devenir plombant. » En témoignent les 13 titres qui s’emboîtent sur « L’Étoile thoracique », fresque déliée sur laquelle l’artiste se donne des airs de concerto aux contours arachnéens. « La science-fiction et le réalisme magique de la chanteuse sont ici entrelardés de situations bien tangibles au-delà de leur diffraction poétique - romantisme, désir, abandon de soi, insomnie, réflexion fantaisiste sur les personnages de cire au musée Grévin » **** - La Presse « Les textes suscitent des images parfois limpides, souvent impressionnistes » - ICI Musique « Voix ondoyante et espiègle, Klô Pelgag n'oublie pas les nuances les plus grises de la mélancolie et s'engouffre dans la gravité » - Libération
April 23 street date. Unwound's paranoid and pulsating sixth album, "Challenge For a Civilized Society" explores the pre-Y2K technological dread of modern punk living. Producer Steve Fisk threads Justin Trosper's stabbing, discordant guitar in and around Sara Lund's consolidated drum attack and Vern Rumsey's relentless, throbbing bass. A vicious and sinister penultimate LP from the most misunderstood band of the 90s.
April 23 street date. Unwound's paranoid and pulsating sixth album, "Challenge For a Civilized Society" explores the pre-Y2K technological dread of modern punk living. Producer Steve Fisk threads Justin Trosper's stabbing, discordant guitar in and around Sara Lund's consolidated drum attack and Vern Rumsey's relentless, throbbing bass. A vicious and sinister penultimate LP from the most misunderstood band of the 90s.
April 23 street date. "Mutator" is the first release in the Alan Vega Vault series on Sacred Bones, collecting rare and unreleased archival recordings. Alan Vega's name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That process naturally led to a wealth of material that didn't see the light of day immediately when it was recorded, which came to be known as the Vega Vault. "Mutator" was recorded alongside Vega's longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. At the time of the "Mutator" sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions.
April 23 street date. "Mutator" is the first release in the Alan Vega Vault series on Sacred Bones, collecting rare and unreleased archival recordings. Alan Vega's name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That process naturally led to a wealth of material that didn't see the light of day immediately when it was recorded, which came to be known as the Vega Vault. "Mutator" was recorded alongside Vega's longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. At the time of the "Mutator" sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions.
April 23 street date. "Mutator" is the first release in the Alan Vega Vault series on Sacred Bones, collecting rare and unreleased archival recordings. Alan Vega's name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That process naturally led to a wealth of material that didn't see the light of day immediately when it was recorded, which came to be known as the Vega Vault. "Mutator" was recorded alongside Vega's longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. At the time of the "Mutator" sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions.
Please note new street date: April 16 (LP) / April 30 (CD). Hot on the heels of five viral video singles, "Tea Party Revenge Porn", the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would - or could - as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never before. Only so many artists have a track record of lyrics this good, and back it up with music as good or better. So as germs and police riots rage, there's no better primal scream therapy than a long-awaited new Jello Biafra album.
April 30 street date. "becalmyounglovers" is as much a return as it is a farewell. Phil Moore's first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. Like a polaroid slowly swimming into focus, "becalmyounglovers" reconciles the memories of yourself in relation to another person, and then what's unearthed when you're left to face your identity alone - and which one of those selves is true? Written and recorded mainly in an isolated cabin hand built by Moore and his ex-partner, out in Siler City, North Carolina, "becalmyounglovers" chronicles a long-term relationship's death rattle, inevitable breakup, and its immediate aftermath - and Moore's getting to understand himself better in the process. These songs don't trudge through upheaval - instead, they float, still sanguine and light in the face of plans gone awry.
April 30 street date. "becalmyounglovers" is as much a return as it is a farewell. Phil Moore's first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. Like a polaroid slowly swimming into focus, "becalmyounglovers" reconciles the memories of yourself in relation to another person, and then what's unearthed when you're left to face your identity alone - and which one of those selves is true? Written and recorded mainly in an isolated cabin hand built by Moore and his ex-partner, out in Siler City, North Carolina, "becalmyounglovers" chronicles a long-term relationship's death rattle, inevitable breakup, and its immediate aftermath - and Moore's getting to understand himself better in the process. These songs don't trudge through upheaval - instead, they float, still sanguine and light in the face of plans gone awry.
April 30 street date. Beginning with the dynamic chaos of "Up & Down" and ending with Crumb's closest thing to a lullaby, "Ice Melt"'s ten tracks combine, like ice sculptures melting into a glistening puddle. From the start, the group knew that cohesion was best achieved through plumbing their individual strengths - frontwoman Lila Ramani's earliest songwriting, which catalyzed the group's first two EPs; Bri Aronow's knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad's drums, a Crumb mainstay; and Jesse Brotter's distinctive bass playing, which subtly traces Ramani's vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming. "Ice Melt" is the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
April 30 street date. Beginning with the dynamic chaos of "Up & Down" and ending with Crumb's closest thing to a lullaby, "Ice Melt"'s ten tracks combine, like ice sculptures melting into a glistening puddle. From the start, the group knew that cohesion was best achieved through plumbing their individual strengths - frontwoman Lila Ramani's earliest songwriting, which catalyzed the group's first two EPs; Bri Aronow's knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad's drums, a Crumb mainstay; and Jesse Brotter's distinctive bass playing, which subtly traces Ramani's vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming. "Ice Melt" is the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
April 30 street date. Beginning with the dynamic chaos of "Up & Down" and ending with Crumb's closest thing to a lullaby, "Ice Melt"'s ten tracks combine, like ice sculptures melting into a glistening puddle. From the start, the group knew that cohesion was best achieved through plumbing their individual strengths - frontwoman Lila Ramani's earliest songwriting, which catalyzed the group's first two EPs; Bri Aronow's knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad's drums, a Crumb mainstay; and Jesse Brotter's distinctive bass playing, which subtly traces Ramani's vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming. "Ice Melt" is the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
April 30 street date. Beginning with the dynamic chaos of "Up & Down" and ending with Crumb's closest thing to a lullaby, "Ice Melt"'s ten tracks combine, like ice sculptures melting into a glistening puddle. From the start, the group knew that cohesion was best achieved through plumbing their individual strengths - frontwoman Lila Ramani's earliest songwriting, which catalyzed the group's first two EPs; Bri Aronow's knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad's drums, a Crumb mainstay; and Jesse Brotter's distinctive bass playing, which subtly traces Ramani's vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming. "Ice Melt" is the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
April 30 street date. Blue Fog Recordings now brings to you this sweet fully remastered double vinyl gatefold reissue of this classic album. Record one features the original 16 song album and record two has 16 more songs from the "Eerie" sessions including original 7 inch only tracks, rarities, live tracks and 3 completely never before heard out-takes. All the original artwork has been freshly rescanned and is looking better than ever with a new layout including lots of photos and lyrics. Coloured vinyl.
April 2 street date (CD and Cassette) / April 30 (LPs) (date change). On her second full-length record, "Head of Roses", Jenn Wasner (Wye Oak) follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner's ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. Simply put, "Head of Roses" is a record about heartbreak, but from a dualistic perspective. It's about the experience of having one's heart broken and breaking someone else's heart at the same time. But beyond that, it's about having to reconcile the experience of one's own pain with the understanding that it's impossible to go through life without being the source of great pain for someone else. Carefully curated and culled from the depths of Wasner's heartbreak and healing, it's deeply, intensely personal.
Please note new street date for LPs: April 30 / April 2 street date (CD and Cassette). On her second full-length record, "Head of Roses", Jenn Wasner (Wye Oak) follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner's ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. Simply put, "Head of Roses" is a record about heartbreak, but from a dualistic perspective. It's about the experience of having one's heart broken and breaking someone else's heart at the same time. But beyond that, it's about having to reconcile the experience of one's own pain with the understanding that it's impossible to go through life without being the source of great pain for someone else. Carefully curated and culled from the depths of Wasner's heartbreak and healing, it's deeply, intensely personal.
April 9 street date. Reissue of Beverly Glenn-Copeland's 2020 Polaris Heritage Prize winning album! In 1970, nine years after leaving the United States to study music in Canada, Beverly Glenn-Copeland released two self-titled albums. Both were a stunning showcase of classical and jazz acumen, layered with poetry and accompanied by some of the best players of the time. Original pressings now fetch thousands of dollars. Glenn-Copeland then vanished as a recording artist until his re-emergence in 1986 with the release (just a few hundred copies on cassette) of what many now believe to be his masterpiece, "Keyboard Fantasies". Marking its 35th anniversary, Transgressive reissues "Keyboard Fantasies" with updated artwork and liner notes by pop star, Robyn.
April 9 street date. Reissue of Beverly Glenn-Copeland's 2020 Polaris Heritage Prize winning album! In 1970, nine years after leaving the United States to study music in Canada, Beverly Glenn-Copeland released two self-titled albums. Both were a stunning showcase of classical and jazz acumen, layered with poetry and accompanied by some of the best players of the time. Original pressings now fetch thousands of dollars. Glenn-Copeland then vanished as a recording artist until his re-emergence in 1986 with the release (just a few hundred copies on cassette) of what many now believe to be his masterpiece, "Keyboard Fantasies". Marking its 35th anniversary, Transgressive reissues "Keyboard Fantasies" with updated artwork and liner notes by pop star, Robyn.
Please note new street date: April 30. Reissue of Beverly Glenn-Copeland's 2020 Polaris Heritage Prize winning album! In 1970, nine years after leaving the United States to study music in Canada, Beverly Glenn-Copeland released two self-titled albums. Both were a stunning showcase of classical and jazz acumen, layered with poetry and accompanied by some of the best players of the time. Original pressings now fetch thousands of dollars. Glenn-Copeland then vanished as a recording artist until his re-emergence in 1986 with the release (just a few hundred copies on cassette) of what many now believe to be his masterpiece, "Keyboard Fantasies". Marking its 35th anniversary, Transgressive reissues "Keyboard Fantasies" with updated artwork and liner notes by pop star, Robyn.
April 30 street date. Is it really a musical?! The 33rd Guided By Voices album, "Earth Man Blues", is a magical cinematic rock album, full of dramatic and surreal twists and turns. Lyrics and liner notes trace the growth of young Harold Admore Harold through a coming of age and a reckoning with darkness. Vivid scenes appear: snapshots of youth, fantastical nightmares, unknown worlds. The music hasn't softened a bit. One will hear the impossibly perfect melodies and word play that you expect from Robert Pollard, with the band playing at peak-heavy. Doug Gillard's brilliant guitar playing explodes out of the speakers. The rhythm section of Kevin March and Mark Shue, always strong and reliable, has grown into a breathing composite organism. Along with Bobby Bare, Jr on rhythm guitar, they drive the songs and make one's head shake. Producer Travis Harrison ties the talents of the band together, once again recorded remotely and individually, pandemic-style.
April 30 street date. Is it really a musical?! The 33rd Guided By Voices album, "Earth Man Blues", is a magical cinematic rock album, full of dramatic and surreal twists and turns. Lyrics and liner notes trace the growth of young Harold Admore Harold through a coming of age and a reckoning with darkness. Vivid scenes appear: snapshots of youth, fantastical nightmares, unknown worlds. The music hasn't softened a bit. One will hear the impossibly perfect melodies and word play that you expect from Robert Pollard, with the band playing at peak-heavy. Doug Gillard's brilliant guitar playing explodes out of the speakers. The rhythm section of Kevin March and Mark Shue, always strong and reliable, has grown into a breathing composite organism. Along with Bobby Bare, Jr on rhythm guitar, they drive the songs and make one's head shake. Producer Travis Harrison ties the talents of the band together, once again recorded remotely and individually, pandemic-style.
April 30 street date. Much like the New Orleans born artist who created it, "Second Line" is an unapologetic genre bender that pushes boundaries, expands possibilities, and shatters expectations. It's more than just an album: "Second Line" is a cohesive sensory experience that questions traditional ideas of sound, production, and visual aesthetics as they relate to music. Its interlocking parts tell an epic story about the quest for artistic expression, with Dawn describing her project as "a movement to bring pioneering Black women in electronic music to the forefront". "Second Line" cuts to the chase with its opening suite of dancefloor bangers, immediately displaying Dawn's mastery of layered production and melodic hooks. The album treats Louisiana Creole culture, New Orleans bounce, and Southern Swag as elemental, allowing Dawn to weave in and out of house, footwork, R&B, and more.
Please note new street date: January 15 / April 30 for cassette. Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018’s Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day’s escalating aural panic attack or the shapeshifting darkness of Snow Day. From the womb to the clouds (sort of), Shame are currently very much in the pink.
April 30 street date. Shovels & Rope continue their Busted Jukebox series where they join forces with their musical friends to cover classic songs in their own unique ways with "Busted Jukebox Volume 3". Volume 3 sees the duo covering a series of kid-friendly songs, such as "Tomorrow" from 'Annie' featuring The War and Treaty, "You Are My Sunshine" featuring The Felice Brothers, and "What A Wonderful World" featuring John Paul White, along with some other classics like R.E.M.'s "Everybody Hurts" alongside T. Hardy Morris, and The Beach Boys' "In My Room" featuring Sharon Van Etten.
April 30 street date. Shovels & Rope continue their Busted Jukebox series where they join forces with their musical friends to cover classic songs in their own unique ways with "Busted Jukebox Volume 3". Volume 3 sees the duo covering a series of kid-friendly songs, such as "Tomorrow" from 'Annie' featuring The War and Treaty, "You Are My Sunshine" featuring The Felice Brothers, and "What A Wonderful World" featuring John Paul White, along with some other classics like R.E.M.'s "Everybody Hurts" alongside T. Hardy Morris, and The Beach Boys' "In My Room" featuring Sharon Van Etten.
Please note new street date: April 30. Even if we weren't living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body, and soul, and to reaffirm that all is not lost in this world. "Endless Arcade" follows the band's ninth album "Here", released in 2016 to universal acclaim and notably their first UK Top 10 album since 1997, a mark of how much they're treasured. The new record is quintessential TFC: melodies are equal parts heartwarming and heartaching, guitars chime and distort, keyboard lines mesh and spiral, harmony-coated choruses burst out like sun on a stormy day. Recent albums such as "Shadows" and "Here" have documented a more relaxed, less "teenage" Fanclub, reflecting the band's stage in life and state of mind, alongside which "Endless Arcade" slots perfectly.The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community, and hope is entwined with more bittersweet, sometimes darker thoughts of insecurity, anxiety, and loss.
Please note new street date: April 30. Even if we weren't living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body, and soul, and to reaffirm that all is not lost in this world. "Endless Arcade" follows the band's ninth album "Here", released in 2016 to universal acclaim and notably their first UK Top 10 album since 1997, a mark of how much they're treasured. The new record is quintessential TFC: melodies are equal parts heartwarming and heartaching, guitars chime and distort, keyboard lines mesh and spiral, harmony-coated choruses burst out like sun on a stormy day. Recent albums such as "Shadows" and "Here" have documented a more relaxed, less "teenage" Fanclub, reflecting the band's stage in life and state of mind, alongside which "Endless Arcade" slots perfectly.The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community, and hope is entwined with more bittersweet, sometimes darker thoughts of insecurity, anxiety, and loss.
Please note new street date: April 30. Even if we weren't living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body, and soul, and to reaffirm that all is not lost in this world. "Endless Arcade" follows the band's ninth album "Here", released in 2016 to universal acclaim and notably their first UK Top 10 album since 1997, a mark of how much they're treasured. The new record is quintessential TFC: melodies are equal parts heartwarming and heartaching, guitars chime and distort, keyboard lines mesh and spiral, harmony-coated choruses burst out like sun on a stormy day. Recent albums such as "Shadows" and "Here" have documented a more relaxed, less "teenage" Fanclub, reflecting the band's stage in life and state of mind, alongside which "Endless Arcade" slots perfectly.The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community, and hope is entwined with more bittersweet, sometimes darker thoughts of insecurity, anxiety, and loss.
April 30 street date. Nicholas Galanin is one of the most vital voices in contemporary art. Born in Sheet'ka (Sitka, Alaska), Galanin is Tlingit and Unangax^; he creates from his perspective as an Indigenous man. His work calls for an accounting of the damages done to land and life by unfettered capitalism while envisioning and advocating alternate possibilities. His work spans sculpture, video, installation, photography, jewelry and music; advocating Indigenous sovereignty, racial, social and environmental justice, for present, and future generations. His debut as Ya Tseen ("be alive" - a reference to his Tlingit name Yeil Ya Tseen) is "Indian Yard", his first album for Sub Pop. Rich with emotional range and sharp awareness, "Indian Yard" explores love, desire, frustration, pain, revolution, and connection through the magnetic expressions of an Indigenous mind. These 11 tracks put Galanin, Ya Tseen, and Indigenous art at large in a current musical conversation with the likes of Moses Sumney and TV on the Radio, FKA Twigs, and James Blake. During strings of sessions in Sitka and Seattle, a cast of brilliant friends - Shabazz Palaces, Nick Hakim, fellow Indigenous Alaskan singer and songwriter Qacung, fellow Alaskans Portugal. The Man (whom Galanin counts as friends and allies for social and environmental justice), Stas THEE Boss (THEESatisfaction), to name a few - helped turn "Indian Yard" into a cataract of intensely current pop wonders.
April 30 street date. Nicholas Galanin is one of the most vital voices in contemporary art. Born in Sheet'ka (Sitka, Alaska), Galanin is Tlingit and Unangax^; he creates from his perspective as an Indigenous man. His work calls for an accounting of the damages done to land and life by unfettered capitalism while envisioning and advocating alternate possibilities. His work spans sculpture, video, installation, photography, jewelry and music; advocating Indigenous sovereignty, racial, social and environmental justice, for present, and future generations. His debut as Ya Tseen ("be alive" - a reference to his Tlingit name Yeil Ya Tseen) is "Indian Yard", his first album for Sub Pop. Rich with emotional range and sharp awareness, "Indian Yard" explores love, desire, frustration, pain, revolution, and connection through the magnetic expressions of an Indigenous mind. These 11 tracks put Galanin, Ya Tseen, and Indigenous art at large in a current musical conversation with the likes of Moses Sumney and TV on the Radio, FKA Twigs, and James Blake. During strings of sessions in Sitka and Seattle, a cast of brilliant friends - Shabazz Palaces, Nick Hakim, fellow Indigenous Alaskan singer and songwriter Qacung, fellow Alaskans Portugal. The Man (whom Galanin counts as friends and allies for social and environmental justice), Stas THEE Boss (THEESatisfaction), to name a few - helped turn "Indian Yard" into a cataract of intensely current pop wonders.
May 7 street date. Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Heartwork" is widely renowned as the best Carcass album with its melodic intricacies. These albums have been specially recreated using 'FDR' - full dynamic range mastering - pressed from the original master tapes, allowing the music's nuances to shine through and giving these classic albums a more ferocious and dynamic sound, enabling the listener to immerse themselves in the full audio heaviness.
May 7 street date. Limited edition 12" of remixes of ‘Sad Cowboy’, one of the standout tracks from Goat Girl's new album ‘On All Fours’. Features remixes by Tony Njoku, PVA, DJ Dairy (black midi) and Nídia.
May 7 street date. With each new release, Elias Bender Rønnenfelt, Jakob Tvilling Pless, Johan Surrballe Wieth and Dan Kjær Nielsen refigure the contours of a typical Iceage song. This is especially true of "Seek Shelter", their fifth LP and first for Mexican Summer. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce the record and an additional guitarist in the form of Casper Morilla Fernandez, "Seek Shelter" sees Iceage's propulsive momentum pushing them in new, expansive, ecstatic directions. A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion. What precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. With "Seek Shelter", they've managed to hold onto this core of presence and risk while writing their most ambitious songs.
May 7 street date. With each new release, Elias Bender Rønnenfelt, Jakob Tvilling Pless, Johan Surrballe Wieth and Dan Kjær Nielsen refigure the contours of a typical Iceage song. This is especially true of "Seek Shelter", their fifth LP and first for Mexican Summer. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce the record and an additional guitarist in the form of Casper Morilla Fernandez, "Seek Shelter" sees Iceage's propulsive momentum pushing them in new, expansive, ecstatic directions. A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion. What precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. With "Seek Shelter", they've managed to hold onto this core of presence and risk while writing their most ambitious songs.
May 7 street date. With each new release, Elias Bender Rønnenfelt, Jakob Tvilling Pless, Johan Surrballe Wieth and Dan Kjær Nielsen refigure the contours of a typical Iceage song. This is especially true of "Seek Shelter", their fifth LP and first for Mexican Summer. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce the record and an additional guitarist in the form of Casper Morilla Fernandez, "Seek Shelter" sees Iceage's propulsive momentum pushing them in new, expansive, ecstatic directions. A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion. What precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. With "Seek Shelter", they've managed to hold onto this core of presence and risk while writing their most ambitious songs.
May 7 street date. "Archive Series Volume No. 5: Tallahassee" is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, "The Creek Drank the Cradle" (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. "Tallahassee Recordings" documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. "Creek" arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely "Tallahassee" comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than "Creek" and give a peak into what a studio version of that record might have offered up.
May 7 street date. "Archive Series Volume No. 5: Tallahassee" is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, "The Creek Drank the Cradle" (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. "Tallahassee Recordings" documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. "Creek" arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely "Tallahassee" comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than "Creek" and give a peak into what a studio version of that record might have offered up.
May 7 street date. "Archive Series Volume No. 5: Tallahassee" is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, "The Creek Drank the Cradle" (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. "Tallahassee Recordings" documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. "Creek" arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely "Tallahassee" comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than "Creek" and give a peak into what a studio version of that record might have offered up.
May 7 street date. "Archive Series Volume No. 5: Tallahassee" is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, "The Creek Drank the Cradle" (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. "Tallahassee Recordings" documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. "Creek" arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely "Tallahassee" comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than "Creek" and give a peak into what a studio version of that record might have offered up.
May 7 street date. Tkay Maidza announces the release of her assertive 8-song EP "Last Year Was Weird Vol. 2" Released on streaming services in August 2020, this is her first release on 4AD, following 2018's "Last Year Was Weird Vol. 1", which established her as one of the most exciting voices in the new guard of hip-hop. "Vol. 2" will include 2019's trap-infused, ARIA-nominated single ‘Awake’ featuring JPEGMAFIA, which earned a best of the decade nod from The Needle Drop, as well as praise from Pitchfork, The FADER, Dazed, Complex, and others.
May 7 street date. MAN ON MAN (also M.O.M.) is a new gay lover band made up of Joey Holman (HOLMAN) and Roddy Bottum (Faith No More, Imperial Teen, CRICKETS, Nastie Band). Their upcoming self-titled record is infused with indie-rock distortion and soaked in gay pop confidence while still maintaining the dry acerbic sense of humour they both share. MAN ON MAN's music transcends both genre or decade, creating a timeless appeal for so many kinds of listening. The varied influences and textures of the record are a meditation on the myriad of emotions of lockdown, as well as this particular moment in their own lives, collectively and independently. The shoegaze whirlpools of "Stohner" transition into the square wave synths of "1983" with ease, while tracks like "It's So Fun (To Be Gay)" open us up to a new type of queer anthem for the 2020s.
May 7 street date. MAN ON MAN (also M.O.M.) is a new gay lover band made up of Joey Holman (HOLMAN) and Roddy Bottum (Faith No More, Imperial Teen, CRICKETS, Nastie Band). Their upcoming self-titled record is infused with indie-rock distortion and soaked in gay pop confidence while still maintaining the dry acerbic sense of humour they both share. MAN ON MAN's music transcends both genre or decade, creating a timeless appeal for so many kinds of listening. The varied influences and textures of the record are a meditation on the myriad of emotions of lockdown, as well as this particular moment in their own lives, collectively and independently. The shoegaze whirlpools of "Stohner" transition into the square wave synths of "1983" with ease, while tracks like "It's So Fun (To Be Gay)" open us up to a new type of queer anthem for the 2020s.
May 7 street date. Since their formation in 1983, the BossToneS have been credited as one of the forefathers of ska punk and the creators of its subgenre, ska-core. With a career spanning over 30-years, Boston's best dressed band has built and continued to build a devoted following with their unique brass-infused brand of punk rock. Here with their 11th studio album, "When God Was Great", their first for Hellcat Records, produced by Tim Armstrong (of Rancid) and Ted Hutt (of Flogging Molly), and featuring guest artists from the many punk and ska bands that they have influenced. The Mighty Mighty BossToneS are vocalist Dicky Barrett, bassist Joe Gittleman, saxophonists Tim "Johnny Vegas" Burton and Leon Silva, Bosstone Ben Carr, drummer Joe Sirois, guitarists Nate Albert and Lawrence Katz, keyboardist John Goetchius, and trombonist Chris Rhodes.
May 7 street date. Since their formation in 1983, the BossToneS have been credited as one of the forefathers of ska punk and the creators of its subgenre, ska-core. With a career spanning over 30-years, Boston's best dressed band has built and continued to build a devoted following with their unique brass-infused brand of punk rock. Here with their 11th studio album, "When God Was Great", their first for Hellcat Records, produced by Tim Armstrong (of Rancid) and Ted Hutt (of Flogging Molly), and featuring guest artists from the many punk and ska bands that they have influenced. The Mighty Mighty BossToneS are vocalist Dicky Barrett, bassist Joe Gittleman, saxophonists Tim "Johnny Vegas" Burton and Leon Silva, Bosstone Ben Carr, drummer Joe Sirois, guitarists Nate Albert and Lawrence Katz, keyboardist John Goetchius, and trombonist Chris Rhodes.
May 7 street date. Since their formation in 1983, the BossToneS have been credited as one of the forefathers of ska punk and the creators of its subgenre, ska-core. With a career spanning over 30-years, Boston's best dressed band has built and continued to build a devoted following with their unique brass-infused brand of punk rock. Here with their 11th studio album, "When God Was Great", their first for Hellcat Records, produced by Tim Armstrong (of Rancid) and Ted Hutt (of Flogging Molly), and featuring guest artists from the many punk and ska bands that they have influenced. The Mighty Mighty BossToneS are vocalist Dicky Barrett, bassist Joe Gittleman, saxophonists Tim "Johnny Vegas" Burton and Leon Silva, Bosstone Ben Carr, drummer Joe Sirois, guitarists Nate Albert and Lawrence Katz, keyboardist John Goetchius, and trombonist Chris Rhodes.
Please note new street date: May 7. Deluxe edtion, limited to 1000 copies. Double transparent red coloured vinyl with an exclusive bonus 12" featuring exclusive demos along with a CD and a full-size colour photo book. Mogwai have advanced without a plan since they were teenagers, there have been no secretive meetings to work out the master plan. It is rare to hear a band that has been going for this long, and have this many albums behind them - ten records in and still no disappointments or mistaken creative left turns. You may know what to expect, but you will never get the same. Both transcendent and surprising, "As The Love Continues" shows that Mogwai are still offering solace from the mundane, supplying the soundtrack to whatever movie you are making in your head. Produced by Dave Fridmann, the album features contributions from Atticus Ross and Colin Stetson, and will arrive almost exactly 25 years after the release of their debut single, "Tuner"/"Lower".
May 7 street date. Peter's third solo album saw him break wide open with his biggest hit "Cuts You Up", which is often included in lists of the greatest alternative singles. Propelling him into mainstream stardom, "Deep" also had two additional fantastic charting singles - "The Line Between the Devil's Teeth (And That Which Cannot Be Repeat)", and "A Strange Kind of Love". Again produced by Simon Rogers, the critically acclaimed album is still a fan favourite.
May 7 street date. The fourth Peter Murphy album "Holy Smoke" contained the single "The Sweetest Drop", which made it onto the modern rock charts. It was an elegant follow up to "Deep" with crisp production by Mike Thorne. As written in the original press release for the album, "you can’t pin down "Holy Smoke", it curls and eddies in white and blue swirls, drawing a series of patterns on the brain, but just when an image begins to come into focus, the music mutates into something hypnotically new".
May 7 street date. Originally conceived as a double album, "All Mirrors" and "Whole New Mess" were distinct parts of a larger whole, twin stars that each expressed something bigger and bolder than Angel Olsen had ever made. Now, with "Songs Of The Lark And Other Far Memories", these twin stars become a constellation with the full extent of the songs' iterations: all the alternate takes, b-sides, remixes and reimaginings are here, together. Alongside, a 40-page book collection tells a similar story, not just through outtakes and unseen photos but through the smaller, evocative details: handwritten lyrics, a favorite necklace, a beaded chandelier. As if it could be more plainly stated (there's nothing more), Angel adds one cover here: a loving, assertive rendition of Roxy Music's "More Than This". It is a definitive collection, not just of these songs but of their revelations and their writer, from their simplest origins to their mightiest realization.
May 7 street date. Jim Jarmusch's crypto-vampire love story film, "Only Lovers Left Alive" won the 2013 Cannes award for best soundtrack. The soundtrack, predominantly by Jozef Van Wissem and SQU¨RL, also features Zola Jesus, Yasmin Hamdan and Madeline Follin (of Cults). Sacred Bones is thrilled to bring this incredible soundtrack back in print! SQU¨RL (Jarmusch is a member) are an enthusiastically marginal rock band from New York City who like big drums and broken guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped and screwed hip-hop, and imaginary movie scores. Jozef Van Wissem is a Dutch minimalist composer and lute player based in Brooklyn.
May 7 street date. Jim Jarmusch's crypto-vampire love story film, "Only Lovers Left Alive" won the 2013 Cannes award for best soundtrack. The soundtrack, predominantly by Jozef Van Wissem and SQU¨RL, also features Zola Jesus, Yasmin Hamdan and Madeline Follin (of Cults). Sacred Bones is thrilled to bring this incredible soundtrack back in print! SQU¨RL (Jarmusch is a member) are an enthusiastically marginal rock band from New York City who like big drums and broken guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped and screwed hip-hop, and imaginary movie scores. Jozef Van Wissem is a Dutch minimalist composer and lute player based in Brooklyn.
May 7 street date. Jim Jarmusch's crypto-vampire love story film, "Only Lovers Left Alive" won the 2013 Cannes award for best soundtrack. The soundtrack, predominantly by Jozef Van Wissem and SQU¨RL, also features Zola Jesus, Yasmin Hamdan and Madeline Follin (of Cults). Sacred Bones is thrilled to bring this incredible soundtrack back in print! SQU¨RL (Jarmusch is a member) are an enthusiastically marginal rock band from New York City who like big drums and broken guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped and screwed hip-hop, and imaginary movie scores. Jozef Van Wissem is a Dutch minimalist composer and lute player based in Brooklyn.
May 7 street date. The latest in Ace Records' Songwriters series features the songs of Lou Reed and takes the listener from a version of ‘Why Don't You Smile Now’ from Reed's pre-Velvet Underground days through selections from the band's albums to songs from 1972's solo classic "Transformer". 20 tracks, from artists including Beck, The Soft Boys, Cowboy Junkies, Iggy Pop, Yo La Tengo, Nico, Swervedriver, and more.
May 7 street date. Lucinda Williams' debut album from 1979, now back in print on vinyl. American singer-songwriter Lucinda Williams' Southern blues roots are unmistakable on her debut record "Ramblin' On My Mind", showcasing the artistry that would make her an icon. Recorded in Mississippi in the late 1970s, the album features a collection of traditional folk and country standards arranged and performed by Williams, with intimate accompaniment by John Grimaudo on his six-string guitar. Her raw and drawly voice is as curvy and natural as a back road as she wistfully explores the familiar melodies of Robert Johnson, Hank Williams, and the Memphis Jug Band, among others. Includes a liner notes booklet with the song lyrics and is housed in an original Folkways-style tip-on jacket. Part of the Smithsonian Folkways Vinyl Reissue Series, revisiting some of the most iconic and influential albums in the label's collection.
Please note new street date for LP: May 14. Ryan Adams' first album in three years, "Wednesdays", is purely raw, vulnerable, and honest. The music takes you on a deep dive exploring the complex heart of Ryan Adams, through a journey of love, pain, and heartbreak. The album so effortlessly creates an immediate connection with anyone who has ever experienced love lost - the type of love that haunts you in quiet places of your mind. While the lyrics walk you through the vast emotional layers of grief, they also remind you of the rich memories of a love that will forever remain a part of you.
May 14 street date. "Copycat Killer" is a 12" EP featuring 4 exclusive new versions of songs from Phoebe Bridgers' wildly acclaimed "Punisher" album. Collaborating with arranger Rob Moose (Sufjan Stevens, The National, Bon Iver, Vampire Weekend, Jay-Z), these are brand new orchestral arrangements of the songs "Kyoto", "Savior Complex", "Chinese Satellite", and "Punisher", all given a luscious revamp that is sure to delight any fans of Phoebe's album and serve as a perfect gateway for new listeners into what makes her one of the most special artists of 2020 and beyond.
May 14 street date. "Copycat Killer" is a 12" EP featuring 4 exclusive new versions of songs from Phoebe Bridgers' wildly acclaimed "Punisher" album. Collaborating with arranger Rob Moose (Sufjan Stevens, The National, Bon Iver, Vampire Weekend, Jay-Z), these are brand new orchestral arrangements of the songs "Kyoto", "Savior Complex", "Chinese Satellite", and "Punisher", all given a luscious revamp that is sure to delight any fans of Phoebe's album and serve as a perfect gateway for new listeners into what makes her one of the most special artists of 2020 and beyond.
May 7 street date. Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Heartwork" is widely renowned as the best Carcass album with its melodic intricacies. These albums have been specially recreated using 'FDR' - full dynamic range mastering - pressed from the original master tapes, allowing the music's nuances to shine through and giving these classic albums a more ferocious and dynamic sound, enabling the listener to immerse themselves in the full audio heaviness.
May 14 street date. "Voyager", the seventh LP from Current Joys, rattles with the live-wire feeling that's thrummed through all of Nick Rattigan's previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock 'n' roll cacophony is overlaid with a soundtrack orchestra guiding it along. It's an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it's Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Terrence Malick, Agnès Varda, and Andrei Tarkovsky. "Voyager" is unlike anything Current Joys has released before. Rattigan's creative process imbues "Voyager" with an intensity and intimacy - with the sense that you're getting to hear, all at once, the disparate parts that make a project - or person - into a sprawling, cinematic whole.
May 14 street date. "Voyager", the seventh LP from Current Joys, rattles with the live-wire feeling that's thrummed through all of Nick Rattigan's previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock 'n' roll cacophony is overlaid with a soundtrack orchestra guiding it along. It's an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it's Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Terrence Malick, Agnès Varda, and Andrei Tarkovsky. "Voyager" is unlike anything Current Joys has released before. Rattigan's creative process imbues "Voyager" with an intensity and intimacy - with the sense that you're getting to hear, all at once, the disparate parts that make a project - or person - into a sprawling, cinematic whole.
May 14 street date. "Voyager", the seventh LP from Current Joys, rattles with the live-wire feeling that's thrummed through all of Nick Rattigan's previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock 'n' roll cacophony is overlaid with a soundtrack orchestra guiding it along. It's an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it's Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Terrence Malick, Agnès Varda, and Andrei Tarkovsky. "Voyager" is unlike anything Current Joys has released before. Rattigan's creative process imbues "Voyager" with an intensity and intimacy - with the sense that you're getting to hear, all at once, the disparate parts that make a project - or person - into a sprawling, cinematic whole.
May 14 street date. "Voyager", the seventh LP from Current Joys, rattles with the live-wire feeling that's thrummed through all of Nick Rattigan's previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock 'n' roll cacophony is overlaid with a soundtrack orchestra guiding it along. It's an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it's Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Terrence Malick, Agnès Varda, and Andrei Tarkovsky. "Voyager" is unlike anything Current Joys has released before. Rattigan's creative process imbues "Voyager" with an intensity and intimacy - with the sense that you're getting to hear, all at once, the disparate parts that make a project - or person - into a sprawling, cinematic whole.
May 14 street date. "Blood" is Juliana Hatfield's 19th solo studio album of originals, and a deep dive into the dark side. The album is a brutal and critical look at modern human psychology and behavior; at personal and societal sickness. "I think these songs are a reaction to how seriously and negatively a lot of people have been affected by the past four years," says Juliana. "But it's fun, musically. There's a lot of playing around. I didn't really have a plan when I started this project". "Chunks" and "Had A Dream" are gritty and abrasive while "Mouthful of Blood" and "Gorgon" are groovy and ultra-melodic. All of it is eminently hummable and thought-provoking. Sophisticated but catchy. Challenging but danceable.
May 14 street date. "Blood" is Juliana Hatfield's 19th solo studio album of originals, and a deep dive into the dark side. The album is a brutal and critical look at modern human psychology and behavior; at personal and societal sickness. "I think these songs are a reaction to how seriously and negatively a lot of people have been affected by the past four years," says Juliana. "But it's fun, musically. There's a lot of playing around. I didn't really have a plan when I started this project". "Chunks" and "Had A Dream" are gritty and abrasive while "Mouthful of Blood" and "Gorgon" are groovy and ultra-melodic. All of it is eminently hummable and thought-provoking. Sophisticated but catchy. Challenging but danceable.
May 14 street date. "Blood" is Juliana Hatfield's 19th solo studio album of originals, and a deep dive into the dark side. The album is a brutal and critical look at modern human psychology and behavior; at personal and societal sickness. "I think these songs are a reaction to how seriously and negatively a lot of people have been affected by the past four years," says Juliana. "But it's fun, musically. There's a lot of playing around. I didn't really have a plan when I started this project". "Chunks" and "Had A Dream" are gritty and abrasive while "Mouthful of Blood" and "Gorgon" are groovy and ultra-melodic. All of it is eminently hummable and thought-provoking. Sophisticated but catchy. Challenging but danceable.
May 14 street date. Pioneers of the British music scene, ‘Blackest Blue’ will be the Morcheeba's 10th studio album in a discography that spans three decades. ‘Blackest Blue’ is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop, and soul - into one cohesive record that dives deep into the soul of the band's genre-mashing musical heritage. As usual, the band didn't approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba. Skye Edwards' lyrics are primarily focused on positivity and overcoming personal adversity that lies within. The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). Morcheeba's global reach is impressive, taking them to every corner of the world. Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name.
May 14 street date. Pioneers of the British music scene, ‘Blackest Blue’ will be the Morcheeba's 10th studio album in a discography that spans three decades. ‘Blackest Blue’ is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop, and soul - into one cohesive record that dives deep into the soul of the band's genre-mashing musical heritage. As usual, the band didn't approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba. Skye Edwards' lyrics are primarily focused on positivity and overcoming personal adversity that lies within. The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). Morcheeba's global reach is impressive, taking them to every corner of the world. Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name.
May 14 street date. Blue vinyl edition, exclusively available to independent shops and D2C. Pioneers of the British music scene, ‘Blackest Blue’ will be the Morcheeba's 10th studio album in a discography that spans three decades. ‘Blackest Blue’ is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop, and soul - into one cohesive record that dives deep into the soul of the band's genre-mashing musical heritage. As usual, the band didn't approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba. Skye Edwards' lyrics are primarily focused on positivity and overcoming personal adversity that lies within. The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). Morcheeba's global reach is impressive, taking them to every corner of the world. Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name.
May 14 street date. "Eureka" is the fourth record from seminal Vancouver alt-rock band Mother Mother, who have experienced a resurgence in online attention based on a series of viral Tik Tok trends this past year. The album celebrates its 10 year anniversary in 2021, and is available for the first time ever on translucent green vinyl. Mother Mother has had a whirlwind decade; over 830 million streams and views, more than 14 million monthly listeners and counting on digital platforms and 2 million Shazam searches. After over a decade of releasing music, a new global audience discovered the band via TikTok, resulting in rapid growth across all platforms and a Rolling Stone feature on this unique artist development story. In November of 2020, the band's 10-year-old song "Hayloft" was the most searched set of lyrics in the US, and second most searched in the world, and the band have made several appearances on Billboard's Top 10 Emerging Artists chart. The band currently have over 1M followers on TiKTok and Spotify and counting.
May 14 street date. The VILLAIN was laying low on the fog shrouded Tin Islands when Bishop's X-Wing crashed into his swamp. It was April 2013, and that's a metaphor for Bishop’s first meeting with DOOM before a show at the 100 Club. The future collaborators were booked to play in the tiny ancient jazz venue with Ghostface Killah that night. In the months that followed, Metal Fingers sent Bishop Yousendit links to folders of beats and Bishop laid down bars. The two worked remotely and then followed up with sessions in the studio.
May 14 street date. White vinyl edition with bonus 7" single, exclusively available to independent shops and limited to 1000 copies. Pioneers of the British music scene, ‘Blackest Blue’ will be the Morcheeba's 10th studio album in a discography that spans three decades. ‘Blackest Blue’ is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop, and soul - into one cohesive record that dives deep into the soul of the band's genre-mashing musical heritage. As usual, the band didn't approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba. Skye Edwards' lyrics are primarily focused on positivity and overcoming personal adversity that lies within. The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). Morcheeba's global reach is impressive, taking them to every corner of the world. Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name.
Please note new street date: May 21. ‘Chemz’ is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. ‘Chemz’ is a 12 minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, ‘Dolphinz’ is a desolate oceanic love letter to our underwater friends.
May 21 street date. Since breaking out in 2018, CHAI have been associated with explosive joy. At the core of their music, CHAI have upheld a stated mission to deconstruct the standards of beauty and cuteness that can be so oppressive in Japan. Like all musicians, CHAI spent 2020 forced to rethink the fabric of their work and lives. But CHAI took this as an opportunity to shake up their process and bring their music somewhere thrillingly new. Having previously used their maximalist recordings to capture the exuberance of their live shows, with the audiences' reactions in mind, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home. Their third full-length and first for Sub Pop, "WINK" contains CHAI's mellowest and most minimal music, and also their most affecting and exciting songwriting by far. CHAI draw R&B and hip-hop into their mix of dance-punk and pop-rock, all while remaining undeniably CHAI.
May 21 street date. Since breaking out in 2018, CHAI have been associated with explosive joy. At the core of their music, CHAI have upheld a stated mission to deconstruct the standards of beauty and cuteness that can be so oppressive in Japan. Like all musicians, CHAI spent 2020 forced to rethink the fabric of their work and lives. But CHAI took this as an opportunity to shake up their process and bring their music somewhere thrillingly new. Having previously used their maximalist recordings to capture the exuberance of their live shows, with the audiences' reactions in mind, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home. Their third full-length and first for Sub Pop, "WINK" contains CHAI's mellowest and most minimal music, and also their most affecting and exciting songwriting by far. CHAI draw R&B and hip-hop into their mix of dance-punk and pop-rock, all while remaining undeniably CHAI.
May 21 street date. Since breaking out in 2018, CHAI have been associated with explosive joy. At the core of their music, CHAI have upheld a stated mission to deconstruct the standards of beauty and cuteness that can be so oppressive in Japan. Like all musicians, CHAI spent 2020 forced to rethink the fabric of their work and lives. But CHAI took this as an opportunity to shake up their process and bring their music somewhere thrillingly new. Having previously used their maximalist recordings to capture the exuberance of their live shows, with the audiences' reactions in mind, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home. Their third full-length and first for Sub Pop, "WINK" contains CHAI's mellowest and most minimal music, and also their most affecting and exciting songwriting by far. CHAI draw R&B and hip-hop into their mix of dance-punk and pop-rock, all while remaining undeniably CHAI.
May 21 street date. Drab Majesty's first release for Dais Records was the "Unknown to the I" cassette in 2015, which featured the title track that would later appear on his debut album "Careless" that summer. The additional early cuts "Saturn Inc." and "Ultra Violet" have previously only been available on digital or as CD bonus tracks. Now these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the "Careless" era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young. Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco's previous stints as drummer in Marriages and Black Mare. Dubbed "Tragic Wave" and "Mid-Fi" by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.
May 21 street date. Drab Majesty's first release for Dais Records was the "Unknown to the I" cassette in 2015, which featured the title track that would later appear on his debut album "Careless" that summer. The additional early cuts "Saturn Inc." and "Ultra Violet" have previously only been available on digital or as CD bonus tracks. Now these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the "Careless" era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young. Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco's previous stints as drummer in Marriages and Black Mare. Dubbed "Tragic Wave" and "Mid-Fi" by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.
May 21 street date. Drab Majesty's first ever release was the 2012 self-released cassette tape "Unarian Dances". Originally limited to 100 copies, tracks from this tape would eventually make their way onto the "Completely Careless" CD collection as bonus cuts. Now these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the "Careless" era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.
May 21 street date. Drab Majesty's first ever release was the 2012 self-released cassette tape "Unarian Dances". Originally limited to 100 copies, tracks from this tape would eventually make their way onto the "Completely Careless" CD collection as bonus cuts. Now these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the "Careless" era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.
May 21 street date. Fly Pan Am have composed some of their most direct, visceral and immediately satisfying music for the acclaimed modern dance piece "Frontera" by Montréal-based troupe Animals Of Distinction. Juxtaposing stern foreboding electronics and minimalist motorik avant-rock, the "Frontera" studio album superbly captures the bristling, sculpted, intensely evocative instrumental pieces that Fly Pan Am developed in close conception and collaboration with the dancers. The "Frontera" recordings track faithfully to the narrative of the original work, where eight movements (featuring a company of 10 dancers) flow from controlled chaos and tensely choreographed kinetics to slow, wrenchingly austere set pieces. This also music stands powerfully and exceptionally well on its own, resonating with the themes of the devastating dance piece. Deluxe 180g vinyl includes artworked inner and 6-panel fold-out insert featuring photographic stills from the original dance production.
May 21 street date. Fly Pan Am have composed some of their most direct, visceral and immediately satisfying music for the acclaimed modern dance piece "Frontera" by Montréal-based troupe Animals Of Distinction. Juxtaposing stern foreboding electronics and minimalist motorik avant-rock, the "Frontera" studio album superbly captures the bristling, sculpted, intensely evocative instrumental pieces that Fly Pan Am developed in close conception and collaboration with the dancers. The "Frontera" recordings track faithfully to the narrative of the original work, where eight movements (featuring a company of 10 dancers) flow from controlled chaos and tensely choreographed kinetics to slow, wrenchingly austere set pieces. This also music stands powerfully and exceptionally well on its own, resonating with the themes of the devastating dance piece. Deluxe 180g vinyl includes artworked inner and 6-panel fold-out insert featuring photographic stills from the original dance production.
May 21 street date. On May 21, Matador Records will release "Afrique Victime", the long-awaited new album by Mdou Moctar. On "Afrique Victime", the prodigious Tuareg guitarist and songwriter rips a new hole in the sky boldly reforging contemporary Saharan music and "rock music" by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights inequality, and Western Africa's exploitation at the hands of colonial powers.
May 21 street date. On May 21, Matador Records will release "Afrique Victime", the long-awaited new album by Mdou Moctar. On "Afrique Victime", the prodigious Tuareg guitarist and songwriter rips a new hole in the sky boldly reforging contemporary Saharan music and "rock music" by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights inequality, and Western Africa's exploitation at the hands of colonial powers.
May 21 street date. On May 21, Matador Records will release "Afrique Victime", the long-awaited new album by Mdou Moctar. On "Afrique Victime", the prodigious Tuareg guitarist and songwriter rips a new hole in the sky boldly reforging contemporary Saharan music and "rock music" by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights inequality, and Western Africa's exploitation at the hands of colonial powers.
May 21 street date. Gruff Rhys is releasing his seventh solo album, "Seeking New Gods", recorded following a US tour with his band and mixed in LA with superstar producer Mario C (Beastie Boys). The album concept was originally driven to be the biography of a mountain, Mount Paektu (an East Asian active volcano). However, as Gruff's writing began to reflect on the inhuman timescale of a peak's existence and the intimate features that bring it to mythological life, both the songs and the mountain became more and more personal.
May 21 street date. Gruff Rhys is releasing his seventh solo album, "Seeking New Gods", recorded following a US tour with his band and mixed in LA with superstar producer Mario C (Beastie Boys). The album concept was originally driven to be the biography of a mountain, Mount Paektu (an East Asian active volcano). However, as Gruff's writing began to reflect on the inhuman timescale of a peak's existence and the intimate features that bring it to mythological life, both the songs and the mountain became more and more personal.
May 21 street date. One year ago NYC-via-Seoul electronic producer, DJ, and vocalist Yaeji released her debut, full-length project in the form of a diary-like mixtape titled "What We Drew". To commemorate the project's anniversary, Yaeji has issued a new limited-edition blue vinyl version of the album. Noted by Time Magazine, Stereogum, Billboard, Gorilla vs Bear, New Yorker, Pitchfork and more as one of the best albums of 2020, "What We Drew" is a reflection of Yaeji's gratitude towards her community, family and friends during a period of growth that resulted in a new found laser-focused creative vision for the artist.
May 28 street date. After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. On his new solo album, "Reason To Live", he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. "Reason To Live" is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. By folding the many facets of his life into one package, "Reason To Live" radiates with a renewed balance and calm.
May 28 street date. After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. On his new solo album, "Reason To Live", he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. "Reason To Live" is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. By folding the many facets of his life into one package, "Reason To Live" radiates with a renewed balance and calm.
May 28 street date. After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. On his new solo album, "Reason To Live", he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. "Reason To Live" is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. By folding the many facets of his life into one package, "Reason To Live" radiates with a renewed balance and calm.
May 28 street date. "Cavalcade" is a dynamic, hellacious, and inventive follow-up to 2019's widely-praised "Schlagenheim". It scales beautiful new heights, pulling widely from a plethora of genres and influences, reaching ever upwards from an already lofty base of early achievements. black midi - Geordie Greep (guitar, primary vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums) - picture "Cavalcade" as a line of larger than life figures, from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich, strolling seductively past them. "When you're listening, you can imagine all the characters form a sort of cavalcade. Each tells their story one by one and as each track ends they overtake you, replaced by the next in line," comments Picton. With original band member guitarist/vocalist Matt Kwasniewski-Kelvin taking time away from the group to focus on his mental health, black midi chose to augment their sound on "Cavalcade", rather than replicate it, with saxophonist Kaidi Akinnibi and keyboard player Seth Evans.
May 28 street date. "Cavalcade" is a dynamic, hellacious, and inventive follow-up to 2019's widely-praised "Schlagenheim". It scales beautiful new heights, pulling widely from a plethora of genres and influences, reaching ever upwards from an already lofty base of early achievements. black midi - Geordie Greep (guitar, primary vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums) - picture "Cavalcade" as a line of larger than life figures, from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich, strolling seductively past them. "When you're listening, you can imagine all the characters form a sort of cavalcade. Each tells their story one by one and as each track ends they overtake you, replaced by the next in line," comments Picton. With original band member guitarist/vocalist Matt Kwasniewski-Kelvin taking time away from the group to focus on his mental health, black midi chose to augment their sound on "Cavalcade", rather than replicate it, with saxophonist Kaidi Akinnibi and keyboard player Seth Evans.
May 28 street date. Picture disc limited to 100 copies. "Cavalcade" is a dynamic, hellacious, and inventive follow-up to 2019's widely-praised "Schlagenheim". It scales beautiful new heights, pulling widely from a plethora of genres and influences, reaching ever upwards from an already lofty base of early achievements. black midi - Geordie Greep (guitar, primary vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums) - picture "Cavalcade" as a line of larger than life figures, from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich, strolling seductively past them. "When you're listening, you can imagine all the characters form a sort of cavalcade. Each tells their story one by one and as each track ends they overtake you, replaced by the next in line," comments Picton. With original band member guitarist/vocalist Matt Kwasniewski-Kelvin taking time away from the group to focus on his mental health, black midi chose to augment their sound on "Cavalcade", rather than replicate it, with saxophonist Kaidi Akinnibi and keyboard player Seth Evans.
May 28 street date. "At Pioneer Works" is the highly anticipated new album by Tuareg avant-rock group Les Filles de Illighadad. Recorded in Brooklyn at the tail end of a two-year-long world tour, "At Pioneer Works" finds Les Filles at the height of their powers, creating a sound that transcends all known genres. This is a heavy and meditative set of music from one of the world's most exciting bands. The album's release will be accompanied by a full-length performance video documenting the band's time in Brooklyn.
May 28 street date. "At Pioneer Works" is the highly anticipated new album by Tuareg avant-rock group Les Filles de Illighadad. Recorded in Brooklyn at the tail end of a two-year-long world tour, "At Pioneer Works" finds Les Filles at the height of their powers, creating a sound that transcends all known genres. This is a heavy and meditative set of music from one of the world's most exciting bands. The album's release will be accompanied by a full-length performance video documenting the band's time in Brooklyn.
May 28 street date. "At Pioneer Works" is the highly anticipated new album by Tuareg avant-rock group Les Filles de Illighadad. Recorded in Brooklyn at the tail end of a two-year-long world tour, "At Pioneer Works" finds Les Filles at the height of their powers, creating a sound that transcends all known genres. This is a heavy and meditative set of music from one of the world's most exciting bands. The album's release will be accompanied by a full-length performance video documenting the band's time in Brooklyn.
May 28 street date. "AVOW" is the sixth full-length album from the mysterious influential avant-garde Australian death metal surrealists Portal, and the follow-up to 2018's acclaimed album "ION". One of the flagship artists and one of the longest running artists for Profound Lore Records, Portal have been recognized as one of the most influential avant-garde and experimental death metal bands of our time, musically and even visually with countless other artists (some being quite high profile) in their wake being highly influenced and even copying the band’s aesthetics. While unmistakably Portal in sound and nature, "AVOW" presents itself as another different, singular, and unique expression within the unparalleled Portal repertoire.
May 28 street date. "AVOW" is the sixth full-length album from the mysterious influential avant-garde Australian death metal surrealists Portal, and the follow-up to 2018's acclaimed album "ION". One of the flagship artists and one of the longest running artists for Profound Lore Records, Portal have been recognized as one of the most influential avant-garde and experimental death metal bands of our time, musically and even visually with countless other artists (some being quite high profile) in their wake being highly influenced and even copying the band’s aesthetics. While unmistakably Portal in sound and nature, "AVOW" presents itself as another different, singular, and unique expression within the unparalleled Portal repertoire.
June 4 street date. Delgrès formed in 2016 when singer, songwriter and guitarist Pascal Danaë met drummer Baptiste Brondy and soubassophone player Rafgee. Their name is a tribute to Louis Delgrès (1766-1802), leader of the movement resisting the reinstitution of slavery in Guadeloupe by Napoleonic France. Sung mostly in Creole, their 2018 debut album, "Mo Jodi", was called "a hurricane of heavy blues", "ferocious and liberating", and a sound cast between "Tinariwen and Black Keys". In 2019 the band was nominated Best World Music Album at the French Victoires de La Musique. On their sophomore album, "4:00 AM", they continue to fight for their values in the face of injustice and conquer their path.
June 4 street date. From the moment she began writing her new album, Japanese Breakfast's Michelle Zauner knew that she wanted to call it "Jubilee". After all, a jubilee is a celebration of the passage of time - a festival to usher in the hope of a new era in brilliant technicolor. Zauner's first two albums garnered acclaim for the way they grappled with anguish; "Psychopomp" was written as her mother underwent cancer treatment, while "Soft Sounds From Another Planet" took the grief she held from her mother's death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world. Inspired by records like Bjork's "Homogenic", Zauner delivers bigness throughout - big ideas, big textures, colours, sounds and feelings. At a time when virtually everything feels extreme, "Jubilee" sets its sights on maximal joy, imagination, and exhilaration.
June 4 street date. From the moment she began writing her new album, Japanese Breakfast's Michelle Zauner knew that she wanted to call it "Jubilee". After all, a jubilee is a celebration of the passage of time - a festival to usher in the hope of a new era in brilliant technicolor. Zauner's first two albums garnered acclaim for the way they grappled with anguish; "Psychopomp" was written as her mother underwent cancer treatment, while "Soft Sounds From Another Planet" took the grief she held from her mother's death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world. Inspired by records like Bjork's "Homogenic", Zauner delivers bigness throughout - big ideas, big textures, colours, sounds and feelings. At a time when virtually everything feels extreme, "Jubilee" sets its sights on maximal joy, imagination, and exhilaration.
June 4 street date. From the moment she began writing her new album, Japanese Breakfast's Michelle Zauner knew that she wanted to call it "Jubilee". After all, a jubilee is a celebration of the passage of time - a festival to usher in the hope of a new era in brilliant technicolor. Zauner's first two albums garnered acclaim for the way they grappled with anguish; "Psychopomp" was written as her mother underwent cancer treatment, while "Soft Sounds From Another Planet" took the grief she held from her mother's death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world. Inspired by records like Bjork's "Homogenic", Zauner delivers bigness throughout - big ideas, big textures, colours, sounds and feelings. At a time when virtually everything feels extreme, "Jubilee" sets its sights on maximal joy, imagination, and exhilaration.
June 4 street date. From their genesis as members of the Venus club in-house band in the early 1970s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. This "Tezeta" album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
June 4 street date. From their genesis as members of the Venus club in-house band in the early 1970s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. This "Tezeta" album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
June 4 street date. From their genesis as members of the Venus club in-house band in the early 1970s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. This "Tezeta" album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
June 4 street date. of Montreal's seminal record, "The Sunlandic Twins", arrived in April of 2005 as the follow-up to their breakthrough album, "Satanic Panic in the Attic". To celebrate 15 years since its illustrious release, we are pleased to present a brand new edition of "The Sunlandic Twins" on red and orange swirl vinyl, complete with a re-designed gatefold jacket interior and 5 additional bonus tracks on side D to round out this superlative 23-song 2xLP.
June 4 street date. Liz Phair brashly but effortlessly drops lyrical nuggets into her melody-driven, lo-fi songs. It makes for a devastating back catalogue; each of her records acts as another timely klaxon call for a generation not prepared to sit back nor shut up. It's a career that's heralded her Grammy Award nominations, a spot on Rolling Stone's albums of all-time list, and decades of critical acclaim that has inspired and influenced some of the brightest new faces of yesterday and today, veering from cult icon to mainstream concern. Over a decade since her last record was released, Liz Phair now returns with another bagful of fireworks already fizzing to be let off in the shape of new album "Soberish". Liz maintains the sass that propelled her to become such a critical darling, and that innate ear for melody and razor sharp way with words." Hey Lou" is the record's opening gambit, a mischievous ode to Lou Reed and Laurie Anderson, and Liz's jaunty lament back into our ears. Welcome back Miss Phair, we've missed you.
June 4 street date. Liz Phair brashly but effortlessly drops lyrical nuggets into her melody-driven, lo-fi songs. It makes for a devastating back catalogue; each of her records acts as another timely klaxon call for a generation not prepared to sit back nor shut up. It's a career that's heralded her Grammy Award nominations, a spot on Rolling Stone's albums of all-time list, and decades of critical acclaim that has inspired and influenced some of the brightest new faces of yesterday and today, veering from cult icon to mainstream concern. Over a decade since her last record was released, Liz Phair now returns with another bagful of fireworks already fizzing to be let off in the shape of new album "Soberish". Liz maintains the sass that propelled her to become such a critical darling, and that innate ear for melody and razor sharp way with words." Hey Lou" is the record's opening gambit, a mischievous ode to Lou Reed and Laurie Anderson, and Liz's jaunty lament back into our ears. Welcome back Miss Phair, we've missed you.
June 4 street date. Liz Phair brashly but effortlessly drops lyrical nuggets into her melody-driven, lo-fi songs. It makes for a devastating back catalogue; each of her records acts as another timely klaxon call for a generation not prepared to sit back nor shut up. It's a career that's heralded her Grammy Award nominations, a spot on Rolling Stone's albums of all-time list, and decades of critical acclaim that has inspired and influenced some of the brightest new faces of yesterday and today, veering from cult icon to mainstream concern. Over a decade since her last record was released, Liz Phair now returns with another bagful of fireworks already fizzing to be let off in the shape of new album "Soberish". Liz maintains the sass that propelled her to become such a critical darling, and that innate ear for melody and razor sharp way with words." Hey Lou" is the record's opening gambit, a mischievous ode to Lou Reed and Laurie Anderson, and Liz's jaunty lament back into our ears. Welcome back Miss Phair, we've missed you.
June 4 street date. "Changephobia" is the second full-length solo record from Grammy Award-winning songwriter, producer, and composer Rostam Batmanglij. An adventurous new direction for Rostam, the songs collected on "Changephobia" are deeply personal, yet universal for anyone who has ever experienced doubt. In addition to being a founding member of the seminal New York indie rock band Vampire Weekend, Rostam has been described as "one of the great pop and indie-rock producers of his generation". Rostam has produced & co-written critically heralded recent albums by Clairo and Haim, as well as singles from Maggie Rogers, Solange, Charli XCX, Frank Ocean, Santigold, and others.
June 4 street date. "Changephobia" is the second full-length solo record from Grammy Award-winning songwriter, producer, and composer Rostam Batmanglij. An adventurous new direction for Rostam, the songs collected on "Changephobia" are deeply personal, yet universal for anyone who has ever experienced doubt. In addition to being a founding member of the seminal New York indie rock band Vampire Weekend, Rostam has been described as "one of the great pop and indie-rock producers of his generation". Rostam has produced & co-written critically heralded recent albums by Clairo and Haim, as well as singles from Maggie Rogers, Solange, Charli XCX, Frank Ocean, Santigold, and others.
June 4 street date. "Changephobia" is the second full-length solo record from Grammy Award-winning songwriter, producer, and composer Rostam Batmanglij. An adventurous new direction for Rostam, the songs collected on "Changephobia" are deeply personal, yet universal for anyone who has ever experienced doubt. In addition to being a founding member of the seminal New York indie rock band Vampire Weekend, Rostam has been described as "one of the great pop and indie-rock producers of his generation". Rostam has produced & co-written critically heralded recent albums by Clairo and Haim, as well as singles from Maggie Rogers, Solange, Charli XCX, Frank Ocean, Santigold, and others.
June 4 street date. "Changephobia" is the second full-length solo record from Grammy Award-winning songwriter, producer, and composer Rostam Batmanglij. An adventurous new direction for Rostam, the songs collected on "Changephobia" are deeply personal, yet universal for anyone who has ever experienced doubt. In addition to being a founding member of the seminal New York indie rock band Vampire Weekend, Rostam has been described as "one of the great pop and indie-rock producers of his generation". Rostam has produced & co-written critically heralded recent albums by Clairo and Haim, as well as singles from Maggie Rogers, Solange, Charli XCX, Frank Ocean, Santigold, and others.
Please note new street date: June 11. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: June 11. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
Please note new street date: June 11. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
June 11 street date. "Big Mess" marks Danny Elfman's first solo collection in more than thirty years, but it's no return to form. Clocking in at 18 tracks, the sprawling, ambitious double album finds the Grammy and Emmy Award-winning composer breaking bold new ground as both a writer and a performer, drawing on a dystopian palette of distorted electric guitars, industrial synthesizers and orchestra in an effort to exorcise the demons brought about by four years of creeping fascism and civil rot. The songs here call to mind everything from Nine Inch Nails to David Bowie to XTC at times, balancing dense, harmonically complex arrangements with biting, acerbic wit as they reckon with the chaos and confusion of the modern world. Elfman wrote almost all of the record during quarantine, and while the anger, frustration, and isolation of it all is palpable in his delivery, "Big Mess" is about more than simply blowing off steam. In making the space to truly sit with his emotions and write without limitations, Elfman achieved a kind of artistic liberation on the record that had been eluding him for decades, rediscovering his voice and reinventing himself all at once in the process.
June 11 street date. "Big Mess" marks Danny Elfman's first solo collection in more than thirty years, but it's no return to form. Clocking in at 18 tracks, the sprawling, ambitious double album finds the Grammy and Emmy Award-winning composer breaking bold new ground as both a writer and a performer, drawing on a dystopian palette of distorted electric guitars, industrial synthesizers and orchestra in an effort to exorcise the demons brought about by four years of creeping fascism and civil rot. The songs here call to mind everything from Nine Inch Nails to David Bowie to XTC at times, balancing dense, harmonically complex arrangements with biting, acerbic wit as they reckon with the chaos and confusion of the modern world. Elfman wrote almost all of the record during quarantine, and while the anger, frustration, and isolation of it all is palpable in his delivery, "Big Mess" is about more than simply blowing off steam. In making the space to truly sit with his emotions and write without limitations, Elfman achieved a kind of artistic liberation on the record that had been eluding him for decades, rediscovering his voice and reinventing himself all at once in the process.
June 11 street date. "Mammoth WVH" is the debut, self-titled album of Mammoth WVH, the band created by Wolfgang Van Halen. At the beginning of 2015, Wolf broke ground on what would become Mammoth WVH with producer Michael "Elvis" Baskette [Alter Bridge, Slash] behind the board. Wolf began to embrace his voice, inspired by everyone from his father to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-titled debut album, remarkably Wolfgang plays every instrument. "The name Mammoth is really special to me", says Wolf. "Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I'd call my own band Mammoth, because I loved the name so much".
June 11 street date. "Mammoth WVH" is the debut, self-titled album of Mammoth WVH, the band created by Wolfgang Van Halen. At the beginning of 2015, Wolf broke ground on what would become Mammoth WVH with producer Michael "Elvis" Baskette [Alter Bridge, Slash] behind the board. Wolf began to embrace his voice, inspired by everyone from his father to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-titled debut album, remarkably Wolfgang plays every instrument. "The name Mammoth is really special to me", says Wolf. "Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I'd call my own band Mammoth, because I loved the name so much".
June 11 street date. "Mammoth WVH" is the debut, self-titled album of Mammoth WVH, the band created by Wolfgang Van Halen. At the beginning of 2015, Wolf broke ground on what would become Mammoth WVH with producer Michael "Elvis" Baskette [Alter Bridge, Slash] behind the board. Wolf began to embrace his voice, inspired by everyone from his father to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-titled debut album, remarkably Wolfgang plays every instrument. "The name Mammoth is really special to me", says Wolf. "Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I'd call my own band Mammoth, because I loved the name so much".
June 11 street date. Portugal. The Man had been a band for just over 2 years and in that period, they had released 3 full-lengths, 1 EP, and a couple standalone singles. In that same period, they had also performed just shy of 500 shows. This young band from Alaska was riding a creative wave that is rarely seen coupled with the most hardcore work ethic. They ended their tour in December of 2008 and instead of taking a much needed break made the decision that they needed to record the culmination of what their live performance had become. Finding a rare gem of a studio in the suburbs of Portland, they piled in to the studio with all their live gear and a handful of friends with handheld cameras. Forward to 2021. The band has been off the road for well over a year, by far the longest break from the road since they started and the time just seems right. Here is "Oregon City Sessions", dug out of the archives. Untouched, unchanged from the day it was finished. It is a time capsule of a band finding its way.
June 11 street date. Portugal. The Man had been a band for just over 2 years and in that period, they had released 3 full-lengths, 1 EP, and a couple standalone singles. In that same period, they had also performed just shy of 500 shows. This young band from Alaska was riding a creative wave that is rarely seen coupled with the most hardcore work ethic. They ended their tour in December of 2008 and instead of taking a much needed break made the decision that they needed to record the culmination of what their live performance had become. Finding a rare gem of a studio in the suburbs of Portland, they piled in to the studio with all their live gear and a handful of friends with handheld cameras. Forward to 2021. The band has been off the road for well over a year, by far the longest break from the road since they started and the time just seems right. Here is "Oregon City Sessions", dug out of the archives. Untouched, unchanged from the day it was finished. It is a time capsule of a band finding its way.
June 11 street date. "Oh, Inverted World", the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang", we just need to note that the remastering job truly makes this the album Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board!
June 11 street date. "Oh, Inverted World", the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang", we just need to note that the remastering job truly makes this the album Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board!
June 11 street date. "Oh, Inverted World", the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang", we just need to note that the remastering job truly makes this the album Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board!
June 11 street date. "Oh, Inverted World", the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang", we just need to note that the remastering job truly makes this the album Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board!
Please note new street date: June 11. Sharon Van Etten's career since the release of her second album, 2010's "epic", is well-known; critically lauded albums, films, and television shows have continually displayed her expanding artistry. Upon its release, "epic" laid a romantic melancholy over the gravel and dirt of heartbreak without one honest thought or feeling spared. Her songs covered betrayal, obsession, egotism, and all the other emotions disliked in others and recognize in oneself. Van Etten's grounded and clenched vocals conveyed a sense of hope - the notion that beauty can arise from the worst of circumstances. To celebrate the 10th anniversary of this special album's release, and to acknowledge the convergence of Van Etten's present and past work, she asked fellow artists she admired to participate in an expanded reissue, where each artist would cover one different song from "epic" in their own style. Some are musicians Van Etten herself admired in her early days (Fiona Apple, Lucinda Williams, and Aaron Dessner and Justin Vernon of Big Red Machine), some are peers (Courtney Barnett, IDLES), and others are part of a younger generation of innovators (Shamir, St. Panther). The resulting "epic Ten" is a double album featuring the original plus the new album of "epic" covers and reimagined artwork.
Please note new street date: June 11. Sharon Van Etten's career since the release of her second album, 2010's "epic", is well-known; critically lauded albums, films, and television shows have continually displayed her expanding artistry. Upon its release, "epic" laid a romantic melancholy over the gravel and dirt of heartbreak without one honest thought or feeling spared. Her songs covered betrayal, obsession, egotism, and all the other emotions disliked in others and recognize in oneself. Van Etten's grounded and clenched vocals conveyed a sense of hope - the notion that beauty can arise from the worst of circumstances. To celebrate the 10th anniversary of this special album's release, and to acknowledge the convergence of Van Etten's present and past work, she asked fellow artists she admired to participate in an expanded reissue, where each artist would cover one different song from "epic" in their own style. Some are musicians Van Etten herself admired in her early days (Fiona Apple, Lucinda Williams, and Aaron Dessner and Justin Vernon of Big Red Machine), some are peers (Courtney Barnett, IDLES), and others are part of a younger generation of innovators (Shamir, St. Panther). The resulting "epic Ten" is a double album featuring the original plus the new album of "epic" covers and reimagined artwork.
June 12 street date. RECORD STORE DAY release. Originally released in 2003, "Here Comes That Weird Chill (Methamphetamine Blues, Extras & Oddities)" was a precursor to Mark's stunning album "Bubblegum". Conceived as a single from that album, "Here Comes That Weird Chill" was expanded to an eight track EP with the inclusion of outtakes from the album sessions - hence, 'Extras and Oddities'. This RSD Drops edition is on magenta vinyl, pressed onto a 12" (previously released as a 10").
June 12 street date. RECORD STORE DAY release. "IMMEDIATELY Remixes" is a companion album to Perfume Genius' "Set My Heart On Fire Immediately", remixed in original running sequence by Boy Harsher, Jenny Hval, A. G. Cook, Actress, Danny L Harle, Jaakko Eino Kaleivi, Jim-E Stack, Planningtorock, Initial Talk, Nídia, Westerman, Actress, Koreless and Katie Dey. Hadreas has said, "I'm very honored to have all these incredible musicians rework these songs. I felt personally remixed listening to their versions, hearing the spirit of my song completely transformed was very magical. Each one feels like a little portal to a fucked up shared world." The 2xLP will be pressed onto metallic silver vinyl, limited to an edition of 2500 exclusive to indie record stores.
June 12 street date. RECORD STORE DAY release. Tune-Yards' 2011 breakthrough second album "w h o k i l l" will receive a limited edition pressing on splatter vinyl to celebrate its 10th anniversary on Record Store Day. "w h o k i l l" marks a time when everything came together into one cohesive whole. Recorded in a studio and influenced heavily by her moving from Montreal to Oakland, Merrill Garbus and Nate Brenner made an album that delivered on her early promise. Lyrically Garbus explores constructs of femininity and sexuality with the threat of violence that lurks on the streets where she now lives.
June 12 street date. RECORD STORE DAY release. On the completion of the recording of "The Fool", Andrew Weatherall was given access to the album's master tapes to work on mixes for the finished record. The track "Baby", along with Warpaint's iconic single "Undertow", were both mixed by the Guv'nor and appeared on the finished album that was released in 2010. For the first time ever, this Record Store Day edition brings together all the mixes Weatherall created while working on the project, including a never released before, finished version of "Jubilee". "I remember that one of the main reasons why we wanted Andrew Weatherall to mix the Warpaint album was because we loved his brilliant work on the Primal Scream remix of "Higher Than The Sun". I know that we discussed this particular track with Emily and she knew it of course and also loved it. I think it was a key reason they agreed to let Andrew do the mix" - Geoff Travis - Rough Trade Records.
June 18 street date. Where once was "Superwolf", now roam "Superwolves", the demon spawn of Matt Sweeney and Bonnie ‘Prince’ Billy.The songs go boldly into undreamed-of places, and go deep, as Matt and Bonny take all the musics they know to make songs that penetrate. In classic Garcia-Hunter style, Sweeney and the ‘Prince’ first work separately, finding a path to each other in their solitary imaginings. Bonnie lyric sets delivered to Matt spark Sweeney's guitar brain; chords and a melody are shaped, recorded fast and loose and sent back to the Prince, then the two parties meet up to sing, stitch, strengthen, and finally perform them together in front of a small unsuspecting audience. Then new sets of lyrics are sent, animated and played in a high wire style until the shared songs and experiences are ready to commit to record. This is just the beginning of their fusion process, as words imply vocalizations to counter and support, and guitar lines suggest harmonic fields to subtly push into.
June 18 street date. Where once was "Superwolf", now roam "Superwolves", the demon spawn of Matt Sweeney and Bonnie ‘Prince’ Billy.The songs go boldly into undreamed-of places, and go deep, as Matt and Bonny take all the musics they know to make songs that penetrate. In classic Garcia-Hunter style, Sweeney and the ‘Prince’ first work separately, finding a path to each other in their solitary imaginings. Bonnie lyric sets delivered to Matt spark Sweeney's guitar brain; chords and a melody are shaped, recorded fast and loose and sent back to the Prince, then the two parties meet up to sing, stitch, strengthen, and finally perform them together in front of a small unsuspecting audience. Then new sets of lyrics are sent, animated and played in a high wire style until the shared songs and experiences are ready to commit to record. This is just the beginning of their fusion process, as words imply vocalizations to counter and support, and guitar lines suggest harmonic fields to subtly push into.
June 18 street date. Where once was "Superwolf", now roam "Superwolves", the demon spawn of Matt Sweeney and Bonnie ‘Prince’ Billy.The songs go boldly into undreamed-of places, and go deep, as Matt and Bonny take all the musics they know to make songs that penetrate. In classic Garcia-Hunter style, Sweeney and the ‘Prince’ first work separately, finding a path to each other in their solitary imaginings. Bonnie lyric sets delivered to Matt spark Sweeney's guitar brain; chords and a melody are shaped, recorded fast and loose and sent back to the Prince, then the two parties meet up to sing, stitch, strengthen, and finally perform them together in front of a small unsuspecting audience. Then new sets of lyrics are sent, animated and played in a high wire style until the shared songs and experiences are ready to commit to record. This is just the beginning of their fusion process, as words imply vocalizations to counter and support, and guitar lines suggest harmonic fields to subtly push into.
June 18 street date. "Sucker Supreme" is the third album from Rosie Tucker, and first for Epitaph Records. It is a coming of age album that aches with self-discovery, self-definition, and self-redefinition. It is also just the right follow-up to where their last album, 2019's "Never Not Never Not Never Not", left off: still playfully observed, still sneakily political, still indebted to folk singers of the past - but also much, much bigger, brighter, louder and noisier than anything Tucker has dared before. It delivers mightily on an ambitious M.O.: to be relentlessly catchy and muscular and noisy but also beautiful; be achingly sad and searching, but never too far away from funny, either; and to spotlight Tucker's empathetic, yearning vocals on top of it all. "Sucker Supreme" is the first record made by Tucker's current touring band: drummer Jessy Reed, guitarist Jess Kallen, and bassist Wolfy, who also occupied the producer's chair. It's a group of people as eager to share their long-dead folk music heroes as they are to pay homage to their still-kicking pop-punk heartthrobs.
June 18 street date. "Sucker Supreme" is the third album from Rosie Tucker, and first for Epitaph Records. It is a coming of age album that aches with self-discovery, self-definition, and self-redefinition. It is also just the right follow-up to where their last album, 2019's "Never Not Never Not Never Not", left off: still playfully observed, still sneakily political, still indebted to folk singers of the past - but also much, much bigger, brighter, louder and noisier than anything Tucker has dared before. It delivers mightily on an ambitious M.O.: to be relentlessly catchy and muscular and noisy but also beautiful; be achingly sad and searching, but never too far away from funny, either; and to spotlight Tucker's empathetic, yearning vocals on top of it all. "Sucker Supreme" is the first record made by Tucker's current touring band: drummer Jessy Reed, guitarist Jess Kallen, and bassist Wolfy, who also occupied the producer's chair. It's a group of people as eager to share their long-dead folk music heroes as they are to pay homage to their still-kicking pop-punk heartthrobs.
June 18 street date. "Sucker Supreme" is the third album from Rosie Tucker, and first for Epitaph Records. It is a coming of age album that aches with self-discovery, self-definition, and self-redefinition. It is also just the right follow-up to where their last album, 2019's "Never Not Never Not Never Not", left off: still playfully observed, still sneakily political, still indebted to folk singers of the past - but also much, much bigger, brighter, louder and noisier than anything Tucker has dared before. It delivers mightily on an ambitious M.O.: to be relentlessly catchy and muscular and noisy but also beautiful; be achingly sad and searching, but never too far away from funny, either; and to spotlight Tucker's empathetic, yearning vocals on top of it all. "Sucker Supreme" is the first record made by Tucker's current touring band: drummer Jessy Reed, guitarist Jess Kallen, and bassist Wolfy, who also occupied the producer's chair. It's a group of people as eager to share their long-dead folk music heroes as they are to pay homage to their still-kicking pop-punk heartthrobs.
June 25 street date. The follow-up to 2018's "Historian" and her 2016 debut "No Burden", "Home Video" was built on Lucy Dacus's interrogation of her coming-of-age years in Richmond, Virginia. Many of the songs start the way a memoir might, and all of them have the compassion, humour, and honesty of the best autobiographical writing. "Home Video" is a gorgeous example of the transformative power of vulnerability. Dacus's voice, both audible and on the page, has a healer's power to soothe and ground and reckon. This album not only propels Dacus forward as a songwriter, but also props her up as one of the most effective storytellers of her generation.
June 25 street date. The follow-up to 2018's "Historian" and her 2016 debut "No Burden", "Home Video" was built on Lucy Dacus's interrogation of her coming-of-age years in Richmond, Virginia. Many of the songs start the way a memoir might, and all of them have the compassion, humour, and honesty of the best autobiographical writing. "Home Video" is a gorgeous example of the transformative power of vulnerability. Dacus's voice, both audible and on the page, has a healer's power to soothe and ground and reckon. This album not only propels Dacus forward as a songwriter, but also props her up as one of the most effective storytellers of her generation.
June 25 street date. The follow-up to 2018's "Historian" and her 2016 debut "No Burden", "Home Video" was built on Lucy Dacus's interrogation of her coming-of-age years in Richmond, Virginia. Many of the songs start the way a memoir might, and all of them have the compassion, humour, and honesty of the best autobiographical writing. "Home Video" is a gorgeous example of the transformative power of vulnerability. Dacus's voice, both audible and on the page, has a healer's power to soothe and ground and reckon. This album not only propels Dacus forward as a songwriter, but also props her up as one of the most effective storytellers of her generation.
June 25 street date. "Quietly Blowing It" was written and arranged by M.C. Taylor in his home studio - his 8’x10’ sanctuary packed floor to ceiling with books, records, and old guitars - as he watched the chaotic world spin outside his window. Between March and June, Taylor wrote and recorded upwards of two dozen songs - in most cases playing all of the instruments himself - before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians went into Overdub Lane in Durham, NC, for a week, where they recorded "Quietly Blowing It" as an organic unit honed to a fine edge from their years together on the road. Throughout "Quietly Blowing It", Taylor brings his keen eye to our "broken American moment" as he first sang on Hiss Golden Messenger's critically acclaimed, GRAMMY®- nominated "Terms of Surrender" (2019), in ways that feel devastatingly intimate and human.
June 25 street date. "Quietly Blowing It" was written and arranged by M.C. Taylor in his home studio - his 8’x10’ sanctuary packed floor to ceiling with books, records, and old guitars - as he watched the chaotic world spin outside his window. Between March and June, Taylor wrote and recorded upwards of two dozen songs - in most cases playing all of the instruments himself - before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians went into Overdub Lane in Durham, NC, for a week, where they recorded "Quietly Blowing It" as an organic unit honed to a fine edge from their years together on the road. Throughout "Quietly Blowing It", Taylor brings his keen eye to our "broken American moment" as he first sang on Hiss Golden Messenger's critically acclaimed, GRAMMY®- nominated "Terms of Surrender" (2019), in ways that feel devastatingly intimate and human.
June 25 street date. "Quietly Blowing It" was written and arranged by M.C. Taylor in his home studio - his 8’x10’ sanctuary packed floor to ceiling with books, records, and old guitars - as he watched the chaotic world spin outside his window. Between March and June, Taylor wrote and recorded upwards of two dozen songs - in most cases playing all of the instruments himself - before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians went into Overdub Lane in Durham, NC, for a week, where they recorded "Quietly Blowing It" as an organic unit honed to a fine edge from their years together on the road. Throughout "Quietly Blowing It", Taylor brings his keen eye to our "broken American moment" as he first sang on Hiss Golden Messenger's critically acclaimed, GRAMMY®- nominated "Terms of Surrender" (2019), in ways that feel devastatingly intimate and human.
June 25 street date. His last solo album for Beggars, "Cascade" came after a time of change for Peter Murphy. He had dissolved his longtime backing band and moved to Turkey with his family. After a year of soul-searching and re-discovery, the songs flowed. He said "it confirmed my belief that writing - like painting or any art form - comes from a very silent place that's not dependent on outside stimulus. It was like rediscovering the initial innocence and purity that's there when you join your first band". The album was written with Paul Statham and produced by Pascal Gabriel. It also contains guitar work by noted artist Michael Brook. Includes four bonus tracks.
June 25 street date. This album of rarities was curated by Andrew Brooksbank and Stephen Webbon with Peter Murphy's guidance. It contains 10 rare tracks that are demo versions, remixes and edits.
June 25 street date. "The Turning Wheel" revolves around themes of human unity, the future, divine love and the enigmatic ups and downs of being a part of this carnival called Life. Venturing to push the boundaries of her primarily synth-based work, SPELLLING took on the ambitious task of orchestrating and self-producing an album that features an ensemble of 31 collaborating musicians. "The Turning Wheel" incorporates a vast range of rich acoustic sounds that cast SPELLLING's work into vibrant new dimensions. The double LP is split into two halves - "Above" and "Below". Lush string quartet shimmer combines with haunting banjo and wandering bassoon leads, as the album progresses from the more jubilant, warm, and dreamy mood of the "Above" tracks to the more chilling and gothic tone of the "Below" tracks. This progression is anchored by SPELLLING's familiar bewitching vocal style that emphasizes the theatrical and folkloric heart of her songwriting.
June 25 street date. "The Turning Wheel" revolves around themes of human unity, the future, divine love and the enigmatic ups and downs of being a part of this carnival called Life. Venturing to push the boundaries of her primarily synth-based work, SPELLLING took on the ambitious task of orchestrating and self-producing an album that features an ensemble of 31 collaborating musicians. "The Turning Wheel" incorporates a vast range of rich acoustic sounds that cast SPELLLING's work into vibrant new dimensions. The double LP is split into two halves - "Above" and "Below". Lush string quartet shimmer combines with haunting banjo and wandering bassoon leads, as the album progresses from the more jubilant, warm, and dreamy mood of the "Above" tracks to the more chilling and gothic tone of the "Below" tracks. This progression is anchored by SPELLLING's familiar bewitching vocal style that emphasizes the theatrical and folkloric heart of her songwriting.
June 25 street date. "The Turning Wheel" revolves around themes of human unity, the future, divine love and the enigmatic ups and downs of being a part of this carnival called Life. Venturing to push the boundaries of her primarily synth-based work, SPELLLING took on the ambitious task of orchestrating and self-producing an album that features an ensemble of 31 collaborating musicians. "The Turning Wheel" incorporates a vast range of rich acoustic sounds that cast SPELLLING's work into vibrant new dimensions. The double LP is split into two halves - "Above" and "Below". Lush string quartet shimmer combines with haunting banjo and wandering bassoon leads, as the album progresses from the more jubilant, warm, and dreamy mood of the "Above" tracks to the more chilling and gothic tone of the "Below" tracks. This progression is anchored by SPELLLING's familiar bewitching vocal style that emphasizes the theatrical and folkloric heart of her songwriting.
Please note new street date: July 9. Canadian exclusive edition of this all-time classic! Red splatter on white vinyl, limited to 500 copies. "Bad Brains" is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of its yellow packaging. Though Bad Brains had recorded the 16 song "Black Dots" album in 1979 and the 5-song "Omega Sessions" EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. This reissue marks the second release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
July 9 street date. N0V3L fans have been patient. The band's self-titled EP exploded out of the gates in 2019, tightly wound and surgically precise, searing eardrums and teasing at a scant 21 minutes. The promise of that all-too-brief debut has finally been met with "Non-Fiction", the band’s first long-player. N0V3L's debut full-length comprises 11 tracks that function as a treatise on modern existence and the perverse parameters within which it's experienced. It's a collection of agile, carefully-constructed post-punk, new wave and funk that’s been zapped and warped by an opioid overdose crisis, mental illness, populism, and the merciless onward march of time. Intimate sadnesses and structural violences are blurred to the jagged quirk of sharp guitars, commanding bass, acrid saxophone, and mournful keys, all propelled ever forward by nimble drumming. It's dark and occasionally danceable, a macabre late-capitalist disco under a pall of confusion.
July 17 street date. RECORD STORE DAY release. This 7" pressed on metallic gold coloured vinyl marks the first-ever physical release of Fleet Foxes' collaboration with the Resistance Revival Chorus, a New-York based collective of women and non-binary singers, on "Can I Believe You" and "Wading In Waist-High Water". Both tracks from Fleet Foxes' latest studio album "Shore"; these new arrangements were recorded at St. Ann & the Holy Trinity Church in Brooklyn, NY in November 2020.
July 17 street date. RECORD STORE DAY release. From First To Last formed in 2002 with guitarists Travis Richter and Matt Good. With a rotating lineup early on, the post-hardcore/screamo outfit released the EP "Aesthetic" on a small New York-based label in early 2003 before signing with Epitaph by the end of the year. After the departure of their original singer, Phillip Reardon, 15-year-old Sonny Moore (years later to go by the name Skrillex) joined as lead vocalist during the recording of the band's debut full-length. Written in two weeks, the group was rounded out on the album - 2004's "Dear Diary, My Teen Angst Has a Bodycount" - with drummer Derek Bloom and bassist Jon Weisberger. They had the right idea, using dense lyricism and inventively propulsive drumming to separate "Dear Diary, My Teen Angst Has a Bodycount" from the teeming post-hardcore pack. But like so many of its peers, FFTL tempers its fury with soft-focus introspection. This LP contains the original mixes of this album by producer Lee Dyess, and these mixes have never been released. In 2004, the album was remixed and released, leaving these masters in the vault where front man Skrillex (Sonny Moore) has unearthed and he asked for Epitaph to remaster and release this on vinyl for the first time.
Please note new street date: February 26. Full dynamic range audio vinyl edition of the second album from Death Metal pioneers Carcass. Originally released in 1989, "Symphonies Of Sickness" contains 10 relentless tracks exploring the subject of brutal animal cruelty in the meat industry.
February 26 for LP (date change) / January 8 street date (CD). Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Reek of Putrefaction, originally released in 1988, gave the band their 'Goregrind' identity breeding the genres of grindcore and death metal. Presented with their famously controversial artwork consisting of extremely vivid images taken from a medical dictionary. Pressed from the original master tapes, this edition of "Reek Of Puterfaction" has been specially recreated using "FDR" - full dynamic range - mastering allowing the music's nuances to shine through and give this classic a more ferocious and dynamic sound.
Please note new street date for LP: February 26 / January 29 for CD. Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Swansong" is their sixth album, originally released in 1996.
Please note date change: street date now TBA. Dead-eyed post-punk from Olympia's reigning noise-niks. "Repetition" rejects the major label signing spree of the mid-1990s entirely, training its hulking focus on haircut hardcore, white belt Jiujitsu, and frenzied feedback. The soundtrack to a fantasy Halloween candy heist, now on vinyl for the first time since 1996.
Please note date change: Street date is now TBA. Dead-eyed post-punk from Olympia's reigning noise-niks. "Repetition" rejects the major label signing spree of the mid-1990s entirely, training its hulking focus on haircut hardcore, white belt Jiujitsu, and frenzied feedback. The soundtrack to a fantasy Halloween candy heist, now on vinyl for the first time since 1996.
Please note new street date: June 12. From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staple Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren's singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His ever-evolving 24-Carat Black project spanned the 1970s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren's 1980s demos cut with grown 'n' sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. "III" is an unfinished symphony that peels away the final layer of Dale Warren's mysterious oeuvre.
March 19 street date (CD) / May 14 (LP). Ryan Adams' first album in three years, "Wednesdays", is purely raw, vulnerable, and honest. The music takes you on a deep dive exploring the complex heart of Ryan Adams, through a journey of love, pain, and heartbreak. The album so effortlessly creates an immediate connection with anyone who has ever experienced love lost - the type of love that haunts you in quiet places of your mind. While the lyrics walk you through the vast emotional layers of grief, they also remind you of the rich memories of a love that will forever remain a part of you.
Please note new street date: May 15. "Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
Please note new street date: May 15. "Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
January 24 street date. "A true legend and a hero. I love Terry's music so much" - Kurt Vile. Iconic and iconoclastic Texan songwriter and visual artist Terry Allen's heartbreaking, hilarious new album, his first set of new songs since 2013's "Bottom Of The World", features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville's masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to "Lubbock (on everything)", "Just Like Moby Dick" casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates, the wars in Iraq and Afghanistan, a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. The deluxe tip-on gatefold 2xLP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth-side vinyl etching artwork by Allen.
January 24 street date. "A true legend and a hero. I love Terry's music so much" - Kurt Vile. Iconic and iconoclastic Texan songwriter and visual artist Terry Allen's heartbreaking, hilarious new album, his first set of new songs since 2013's "Bottom Of The World", features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville's masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to "Lubbock (on everything)", "Just Like Moby Dick" casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates, the wars in Iraq and Afghanistan, a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. The deluxe tip-on gatefold 2xLP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth-side vinyl etching artwork by Allen.
March 26 street date. "Green To Gold" is the much-anticipated new album from New York based Indie/Folk band The Antlers. Perhaps what distinguishes "Green To Gold" from the rest of The Antlers' canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, "Green To Gold" is the band's first new music in nearly seven years, and easily their most luminous to date. The brighter outlook emerged, paradoxically, after a succession of ominous events. In 2015, Silberman suffered with an auditory condition that made touring near impossible and he retreated to the quiet of upstate New York to heal. His return in 2017 with a solo album was short lived when he was diagnosed with lesions on his vocal chords, which required surgery and again a quiet rest and recovery period. Singer and primary songwriter Peter Silberman explains. "I took these health obstacles as a sign that I should change course for a little while. I hadn't made a full stop like that since The Antlers began. I think the shift in tone is the result of getting older. It doesn't make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I'm sure our audience does too. "Green To Gold" is about this idea of gradual change".
March 26 street date. "Green To Gold" is the much-anticipated new album from New York based Indie/Folk band The Antlers. Perhaps what distinguishes "Green To Gold" from the rest of The Antlers' canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, "Green To Gold" is the band's first new music in nearly seven years, and easily their most luminous to date. The brighter outlook emerged, paradoxically, after a succession of ominous events. In 2015, Silberman suffered with an auditory condition that made touring near impossible and he retreated to the quiet of upstate New York to heal. His return in 2017 with a solo album was short lived when he was diagnosed with lesions on his vocal chords, which required surgery and again a quiet rest and recovery period. Singer and primary songwriter Peter Silberman explains. "I took these health obstacles as a sign that I should change course for a little while. I hadn't made a full stop like that since The Antlers began. I think the shift in tone is the result of getting older. It doesn't make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I'm sure our audience does too. "Green To Gold" is about this idea of gradual change".
March 26 street date. "Green To Gold" is the much-anticipated new album from New York based Indie/Folk band The Antlers. Perhaps what distinguishes "Green To Gold" from the rest of The Antlers' canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, "Green To Gold" is the band's first new music in nearly seven years, and easily their most luminous to date. The brighter outlook emerged, paradoxically, after a succession of ominous events. In 2015, Silberman suffered with an auditory condition that made touring near impossible and he retreated to the quiet of upstate New York to heal. His return in 2017 with a solo album was short lived when he was diagnosed with lesions on his vocal chords, which required surgery and again a quiet rest and recovery period. Singer and primary songwriter Peter Silberman explains. "I took these health obstacles as a sign that I should change course for a little while. I hadn't made a full stop like that since The Antlers began. I think the shift in tone is the result of getting older. It doesn't make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I'm sure our audience does too. "Green To Gold" is about this idea of gradual change".
February 26 street date. Architects are back with their ninth studio album "For Those That Wish To Exist". The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism.
February 26 street date. Architects are back with their ninth studio album "For Those That Wish To Exist". The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism.
February 26 street date. Architects are back with their ninth studio album "For Those That Wish To Exist". The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism. Also available on CD and 2LP black vinyl.
Please note new street date: May 29. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
Please note new street date: May 29. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
Please note new street date: May 29. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
November 6 street date. The pioneering electronic composer Mort Garson ("Mother Earth's Plantasia") takes on supernatural phenomena with lush synth grooves on "The Unexplained", his only release under the name Ataraxia. Subtitled "Electronic Musical Impressions of the Occult", the album explores tarot, astral projection, seances, and more with Garson's signature Moog synthesizer serving as the listener's tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.
November 6 street date. The pioneering electronic composer Mort Garson ("Mother Earth's Plantasia") takes on supernatural phenomena with lush synth grooves on "The Unexplained", his only release under the name Ataraxia. Subtitled "Electronic Musical Impressions of the Occult", the album explores tarot, astral projection, seances, and more with Garson's signature Moog synthesizer serving as the listener's tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.
May 15 street date. For over 20 years, Atmosphere have pursued the underbelly of what it means to be human with a rabid curiosity. Ant's dusky production has provided the pulse for Slug's evolving and matter-of-fact pen. As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America's best archivists. On "Whenever", the duo continue to move in lockstep. Within the minutiae lie clues they're still struggling with mortality and the need to protect emotional energy, as on previous releases, but there's a quiet romanticism now, with Slug sounding - reluctantly - in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. The album breathes in the way only Slug and Ant could summon a collective breath. On "Whenever", the duo inhale panic and exhale greatness.
May 15 street date. For over 20 years, Atmosphere have pursued the underbelly of what it means to be human with a rabid curiosity. Ant's dusky production has provided the pulse for Slug's evolving and matter-of-fact pen. As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America's best archivists. On "Whenever", the duo continue to move in lockstep. Within the minutiae lie clues they're still struggling with mortality and the need to protect emotional energy, as on previous releases, but there's a quiet romanticism now, with Slug sounding - reluctantly - in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. The album breathes in the way only Slug and Ant could summon a collective breath. On "Whenever", the duo inhale panic and exhale greatness.
June 19 street date. Bad Cop/Bad Cop has done angry. The band's 2017 full-length, "Warriors", was recorded in the aftermath of the 2016 presidential election. The message the band is sending this time around on their third full-length album "The Ride" is less about wagging your finger at others, or giving the middle one to the Man, than it is about self-love and acceptance. That positivity fuels many of the album's tracks. This self-love is tasking the listener with putting a fix on the problems at hand and finding it in themselves to create the life that they want. Singer Stacey Dee speaks from experience. In 2018 she was hospitalized twice for different ailments, then discovered she had stage one breast cancer at the end of the year. Fortunately it was highly treatable, but the experience was life-altering. Dee captures it with brutal frankness on "Breastless", whose bright melodies belie the struggle described in the lyrics. The perspective behind "The Ride" lends it an undeniable maturity, without losing its power. The album boasts all of the elements of Bad Cop/Bad Cop's sound: big guitars, lock-step bass and drums, intricate vocal harmonies, and plenty of attitude. The only difference this time is the attitude is encouraging, not raging.
June 19 street date. Bad Cop/Bad Cop has done angry. The band's 2017 full-length, "Warriors", was recorded in the aftermath of the 2016 presidential election. The message the band is sending this time around on their third full-length album "The Ride" is less about wagging your finger at others, or giving the middle one to the Man, than it is about self-love and acceptance. That positivity fuels many of the album's tracks. This self-love is tasking the listener with putting a fix on the problems at hand and finding it in themselves to create the life that they want. Singer Stacey Dee speaks from experience. In 2018 she was hospitalized twice for different ailments, then discovered she had stage one breast cancer at the end of the year. Fortunately it was highly treatable, but the experience was life-altering. Dee captures it with brutal frankness on "Breastless", whose bright melodies belie the struggle described in the lyrics. The perspective behind "The Ride" lends it an undeniable maturity, without losing its power. The album boasts all of the elements of Bad Cop/Bad Cop's sound: big guitars, lock-step bass and drums, intricate vocal harmonies, and plenty of attitude. The only difference this time is the attitude is encouraging, not raging.
February 12 street date. Bailter Space's "Wammo" is back in print for the first time since the album's release 25 years ago. The LP is pressed onto limited transparent orange vinyl and features newly remastered audio from the original session reels. Formed in Christchurch, New Zealand in 1987 as Nelsh Bailter Space, the band's musical family tree touches on some of the nation's most revered weirdo luminaries - including Flying Nun mainstays like the Skeptics, the Clean, and the Gordons. Bailter Space embraced chaos, but celebrated precision, finding melody amid networks of brooding noise and feedback. After relocating to New York City, the band - who by then included Alister Parker, John Halvorsen, and Brent McLachlan - arrived on Matador in time for the US release of "Robot World" (1993). "Wammo" was the trio's third and final full-length with the label (their fifth album overall) and was among its most tuneful efforts (relatively speaking!). At the time, music scribes were a bit puzzled by the record's "accessibility". In the rear view, though, we can recognize "Wammo" for the perfectly melancholy and drone-laced brain-zap that it is.
February 26 street date. Julien Baker will release her third studio album, "Little Oblivions", on February 26 via Matador Records. Her first full length since 2017's "Turn Out The Lights", "Little Oblivions" was recorded in Memphis, TN between December 2019 and January 2020. The record weaves together unflinching autobiography with assimilated experience and hard won observations from the past few years, taking Baker's capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter's intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.
February 26 street date. Julien Baker will release her third studio album, "Little Oblivions", on February 26 via Matador Records. Her first full length since 2017's "Turn Out The Lights", "Little Oblivions" was recorded in Memphis, TN between December 2019 and January 2020. The record weaves together unflinching autobiography with assimilated experience and hard won observations from the past few years, taking Baker's capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter's intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker. Please note: limited edition yellow vinyl is now sold out.
LP and CD in stock now. Jennah Barry's long-awaited sophomore release!! (new single hiit #5 on CBC Top 20. Confirmed coverage from Mojo, Popmatters, Exclaim! & many more!!) - Hailing from the coastal haven of Mahone Bay, Nova Scotia, Jennah Barry is one of Atlantic Canada’s surest sirens. Her undeniable, rosewater voice sets a mood wherein even the hardest truths seem palatable. Moving effortlessly between folk, country and soft rock motifs, Barry’s music, last heard on her instantly classic debut Young Men, sets her at the forefront of a tradition of women making music as strong as it is sentimental. "Hazy and calm and entirely entrancing" - The Line of Best Fit // "Barry has an unsettling ability to capture the warmth of an evening (possibly seaside) while slowly cracking into that cozy façade with the tap-tap of insistent heartbreak." - CBC Music
November 13 street date. William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, "Lamentations", he transforms operatic tragedy into abyssal beauty. More than any other work since "The Disintegration Loops", there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - "Lamentations" is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.
Please note new street date: January 22/21. William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, "Lamentations", he transforms operatic tragedy into abyssal beauty. More than any other work since "The Disintegration Loops", there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - "Lamentations" is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.
August 29 RECORD STORE DAY DROP. BAYSIDE has always focused on creating songs that are relevant to people who want substance, rather than being relegated to one genre. With Interrobang, the band has put together an eclectic, inspiring, and bold collection of songs. Raneri shares, “Love it or hate it, we wanted the record to invoke something in people. We said with this record we either wanted to create something great or fall on our faces. Negative or positive, we just didn’t want the record to be ‘fine.’” While many bands would coast on their past success, BAYSIDE rejects the premise and proves with Interrobang, that the best is yet to come. This 7” is a record store day exclusive with Bayside’s song “Heaven,” off of their latest album “Interrobang,” b/w an unreleased acoustic version. For Fans Of: Alkaline Trio, The Menzingers, Taking Back Sunday
July 10 street date. The debut collaboration album from doom metal giants Bell Witch and Aerial Ruin (the solo folk project of singer/songwriter Erik Moggridge), under the moniker of Stygian Bough is a culmination of the work of both artists as witnessed previously on Bell Witch's three full length albums, where Moggrdige has contributed guest vocals. With each succeeding Bell Witch release, one has seen Moggridge's involvement with the band developing, growing and getting more elaborate. This release, produced by Randall Dunn (Sunn O))), Wolves In The Throne Room, Anna Von Hausswolff), follows up Bell Witch's colossal "Mirror Reaper" opus with Moggrdige actually being involved in the creative and writing process with the band duo of Dylan Desmond (bass/vocals) and Jesse Shreibman (drums/synthesizers/vocals). Not only does Stygian Bough expand and broaden this alliance between the artists, but with Aerial Ruin contributing to the songwriting of this dedicated collaboration and incorporating his signature and alluring style of emotionally-driven folk, along with taking the lead vocal position, adding to the band's caliber of unearthly towering doom, this album becomes its own singular, unparalleled doom metal entity.
July 10 street date. The debut collaboration album from doom metal giants Bell Witch and Aerial Ruin (the solo folk project of singer/songwriter Erik Moggridge), under the moniker of Stygian Bough is a culmination of the work of both artists as witnessed previously on Bell Witch's three full length albums, where Moggrdige has contributed guest vocals. With each succeeding Bell Witch release, one has seen Moggridge's involvement with the band developing, growing and getting more elaborate. This release, produced by Randall Dunn (Sunn O))), Wolves In The Throne Room, Anna Von Hausswolff), follows up Bell Witch's colossal "Mirror Reaper" opus with Moggrdige actually being involved in the creative and writing process with the band duo of Dylan Desmond (bass/vocals) and Jesse Shreibman (drums/synthesizers/vocals). Not only does Stygian Bough expand and broaden this alliance between the artists, but with Aerial Ruin contributing to the songwriting of this dedicated collaboration and incorporating his signature and alluring style of emotionally-driven folk, along with taking the lead vocal position, adding to the band's caliber of unearthly towering doom, this album becomes its own singular, unparalleled doom metal entity.
December 11 street date. "What To Look For In Summer" is a live double album gathering choice selections from Belle And Sebastian's 2019 world tour. Neither a retrospective nor a back-door greatest-hits, "What To Look For In Summer" is the sound of a band that's always moving forward, a picture of Belle and Sebastian in 2019 that gives equal weight to early days ("My Wandering Days Are Over", "Seeing Other People") and recent years.
December 11 street date. "What To Look For In Summer" is a live double album gathering choice selections from Belle And Sebastian's 2019 world tour. Neither a retrospective nor a back-door greatest-hits, "What To Look For In Summer" is the sound of a band that's always moving forward, a picture of Belle and Sebastian in 2019 that gives equal weight to early days ("My Wandering Days Are Over", "Seeing Other People") and recent years.
January 29 street date. "The Besnard Lakes Are The Last of the Great Thunderstorm Warnings" is the group's sixth album and the first on Flemish Eye. After 2016's "A Coliseum Complex Museum" - which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs - the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes - rock songs with chthonic heft and ethereal grace, 5 or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? Despite all its grandeur, "...The Last of the Great Thunderstorm Warnings" honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, overflowing with melody and harmony, drone and dazzle, the group's own unique weather. In late 2020, as the world burns, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more.
January 29 street date. "The Besnard Lakes Are The Last of the Great Thunderstorm Warnings" is the group's sixth album and the first on Flemish Eye. After 2016's "A Coliseum Complex Museum" - which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs - the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes - rock songs with chthonic heft and ethereal grace, 5 or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? Despite all its grandeur, "...The Last of the Great Thunderstorm Warnings" honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, overflowing with melody and harmony, drone and dazzle, the group's own unique weather. In late 2020, as the world burns, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more.
Please note new street date: April 16 (LP) / April 30 (CD). Hot on the heels of five viral video singles, "Tea Party Revenge Porn", the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would - or could - as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never before. Only so many artists have a track record of lyrics this good, and back it up with music as good or better. So as germs and police riots rage, there's no better primal scream therapy than a long-awaited new Jello Biafra album.
July 17 street date. Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced the release of "Species", which will be released on 17 July. "Species" is an exploration of the sonic possibilities of the Farfisa organ, aided only by a clarinet and double bass. "I suppose what interested me the most in putting this together was the concept of trance and what can happen to the listener by submitting to the wave of the thing," Moore explains. "Species", and the transcendental state it embodies, was inspired by two recent loves of Moore's: the desert and long-distance running. Bing & Ruth have had to postpone their previously scheduled Spring/Summer tour. Canadian dates will now take place on September 1st (Toronto - Brothers Dressler) and September 2nd (Montreal - La Sala Rossa).
July 17 street date. Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced the release of "Species", which will be released on 17 July. "Species" is an exploration of the sonic possibilities of the Farfisa organ, aided only by a clarinet and double bass. "I suppose what interested me the most in putting this together was the concept of trance and what can happen to the listener by submitting to the wave of the thing," Moore explains. "Species", and the transcendental state it embodies, was inspired by two recent loves of Moore's: the desert and long-distance running. Bing & Ruth have had to postpone their previously scheduled Spring/Summer tour. Canadian dates will now take place on September 1st (Toronto - Brothers Dressler) and September 2nd (Montreal - La Sala Rossa).
January 24 street date. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
January 24 street date. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
January 24 street date. Limited deluxe red vinyl edition, with a die cut spot gloss sleeve and poster - available exclusively to indie shops. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
February 28 street date. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
February 28 street date. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
July 17 street date. London-based band black midi follow their debut album, "Schlagenheim" ("the most intense and invigorating debut of 2019" - MOJO), with a new 12" featuring "Sweater" and "7-eleven". Both tracks were recorded with Speedy Wunderground's Dan Carey during the same period that resulted in "Schlagenheim", and "Sweater" was the last of the tracks recorded during those sessions. Available for the first time on 12".
February 26 street date. "In Ferneaux" explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. With "In Ferneaux", Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.
February 26 street date. "In Ferneaux" explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. With "In Ferneaux", Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.
February 19 street date. The cover art for "iii", the upcoming EP from Canadian art-rock band Blessed, depicts a wall of wooden blocks, all different shapes, jumbled messily and precariously high against a softly-coloured background. It's an image that captures Blessed at their most essential: experimental, asymmetrical, and interdependent, all the more remarkable for their marriage of those three qualities. The EP's four tracks expand on Blessed's already-idiosyncratic vision: cavernous post-punk electronics and measured drum work pave under guitarwork that trips and sways from chiming and sunny, to serrated and snarling, to frigid and stiff. Vocalist Drew Riekman's lithe tenor flickers in and out across tracks, an extra texture rather than a spotlit focus. Rather than aim for one uniform mix, the band pursued four separate ones: Corin Roddick (Purity Ring), John McEntire (Tortoise), Graham Walsh (Holy Fuck), and Riekman. The result is four tracks with distinctly different palettes and trajectories.
February 19 street date. The cover art for "iii", the upcoming EP from Canadian art-rock band Blessed, depicts a wall of wooden blocks, all different shapes, jumbled messily and precariously high against a softly-coloured background. It's an image that captures Blessed at their most essential: experimental, asymmetrical, and interdependent, all the more remarkable for their marriage of those three qualities. The EP's four tracks expand on Blessed's already-idiosyncratic vision: cavernous post-punk electronics and measured drum work pave under guitarwork that trips and sways from chiming and sunny, to serrated and snarling, to frigid and stiff. Vocalist Drew Riekman's lithe tenor flickers in and out across tracks, an extra texture rather than a spotlit focus. Rather than aim for one uniform mix, the band pursued four separate ones: Corin Roddick (Purity Ring), John McEntire (Tortoise), Graham Walsh (Holy Fuck), and Riekman. The result is four tracks with distinctly different palettes and trajectories.
Please note street date is July 31. (Legendary Montreal-based wildman of rock and roll and R & B has worked with Jon Spencer, King Khan, the 5678’s and Deke Dickerson!!) For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!
Please note street date is July 31. (Legendary Montreal-based wildman of rock and roll and R & B has worked with Jon Spencer, King Khan, the 5678’s and Deke Dickerson!!) For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!
March 19 street date. Sophomore album from the Windsor duo who were nominated for a 2020 Juno for Breakthrough Group Of The Year. When Tarek Jafar and Justin Tessier formed The Blue Stones, they were facing uncertainty about who they were and where they were going. But they did know they wanted to make music together, and so they did, writing songs over time and eventually releasing their debut album "Black Holes" in 2018. As confident and self-assured as they are, that record was very much about the pair finding themselves, both musically and existentially, and deciding to pursue the rock 'n' roll dream by jumping into a black hole of the unknown instead of choosing a more ordinary life-path. The band drew the attention of producer, Paul Meany - the creative force behind alternative rock band Mutemath, and who recently worked with Twenty One Pilots, producing their fifth album, "Trench". Working with Meany didn't just lead to The Blue Stones exploring - and creating - music in a different way than they had before, but it also led Jafar to approach and tackle lyrics in an entirely new light. Combined with the band's nuanced and layered approach to their sound, it makes these songs resonate with a powerful emotional intensity.
March 19 street date. Sophomore album from the Windsor duo who were nominated for a 2020 Juno for Breakthrough Group Of The Year. When Tarek Jafar and Justin Tessier formed The Blue Stones, they were facing uncertainty about who they were and where they were going. But they did know they wanted to make music together, and so they did, writing songs over time and eventually releasing their debut album "Black Holes" in 2018. As confident and self-assured as they are, that record was very much about the pair finding themselves, both musically and existentially, and deciding to pursue the rock 'n' roll dream by jumping into a black hole of the unknown instead of choosing a more ordinary life-path. The band drew the attention of producer, Paul Meany - the creative force behind alternative rock band Mutemath, and who recently worked with Twenty One Pilots, producing their fifth album, "Trench". Working with Meany didn't just lead to The Blue Stones exploring - and creating - music in a different way than they had before, but it also led Jafar to approach and tackle lyrics in an entirely new light. Combined with the band's nuanced and layered approach to their sound, it makes these songs resonate with a powerful emotional intensity.
March 13 street date. Where The Bombpops had a "Fear Of Missing Out" on their 2017 debut full-length, their highly anticipated follow up shows what happens when you're too involved - with booze, bad situations, and behavior that's unsustainable at best and destructive at worst. It's right there in the title - "Death In Venice Beach" - an allusion to Thomas Mann's celebrated novella about the price of an artistic life. What draws The Bombpops hasn't changed on their newest effort: highly melodic punk with big guitars, vocal harmonies, and the SoCal sound that inspired the quartet to pick up instruments. But the more light-hearted skate punk of "Fear Of Missing Out" has a serrated edge on "Death In Venice Beach", as they explore darker themes drawing from real life experiences leading up to and during the making of the album.
March 13 street date. Where The Bombpops had a "Fear Of Missing Out" on their 2017 debut full-length, their highly anticipated follow up shows what happens when you're too involved - with booze, bad situations, and behavior that's unsustainable at best and destructive at worst. It's right there in the title - "Death In Venice Beach" - an allusion to Thomas Mann's celebrated novella about the price of an artistic life. What draws The Bombpops hasn't changed on their newest effort: highly melodic punk with big guitars, vocal harmonies, and the SoCal sound that inspired the quartet to pick up instruments. But the more light-hearted skate punk of "Fear Of Missing Out" has a serrated edge on "Death In Venice Beach", as they explore darker themes drawing from real life experiences leading up to and during the making of the album.
March 27 street date. Bon Iver's "Blood Bank" EP was originally released in early 2009, hot on the heels of the beloved album "For Emma, Forever Ago". The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks, all recorded at various venues in 2018.
March 27 street date. Limited translucent red vinyl edition. Bon Iver's "Blood Bank" EP was originally released in early 2009, hot on the heels of the beloved album "For Emma, Forever Ago". The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks, all recorded at various venues in 2018.
January 24 street date. The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit - comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir) - is mixing the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush. The resulting album, "Bonny Light Horseman", is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages.
January 24 street date. The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit - comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir) - is mixing the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush. The resulting album, "Bonny Light Horseman", is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages.
Please note new street date: August 14. Orange vinyl pressing of this late 2019 release. In an emotional musical journey, Booker T explores new takes on the songs that make up the fabric of his musical identity. Largely mirroring the chapter titles from his forthcoming memoir "Time Is Tight", "Note By Note" serves as a musical companion. Stax staples like "Cause I Love You" and "These Arms Of Mine" are woven into defining musical moments from Booker's journey after Stax, when he produced and recorded with artists as diverse as Willie Nelson and Carlos Santana. Booker T & The MG's fans will enjoy a new ending to the song "Time Is Tight", a Romanesque coda that has been played live yet never recorded. The album culminates with new original music, highlighting the soaring guitar and vocals of Booker's son and collaborator Teddy Jones. Booker T is a 4 time Grammy Award winner (including the Lifetime Achievement Award), Rock and Roll Hall of Fame Inductee, and arguably the most famous Hammond B3 player in history.
Please note new street date: August 14. In an emotional musical journey, Booker T explores new takes on the songs that make up the fabric of his musical identity. Largely mirroring the chapter titles from his forthcoming memoir "Time Is Tight", "Note By Note" serves as a musical companion. Stax staples like "Cause I Love You" and "These Arms Of Mine" are woven into defining musical moments from Booker's journey after Stax, when he produced and recorded with artists as diverse as Willie Nelson and Carlos Santana. Booker T & The MG's fans will enjoy a new ending to the song "Time Is Tight", a Romanesque coda that has been played live yet never recorded. The album culminates with new original music, highlighting the soaring guitar and vocals of Booker's son and collaborator Teddy Jones. Booker T is a 4 time Grammy Award winner (including the Lifetime Achievement Award), Rock and Roll Hall of Fame Inductee, and arguably the most famous Hammond B3 player in history.
June 19 street date. The arrival of "Punisher" cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. She doesn't write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. "Punisher", her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others. On "Punisher", Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys).
June 19 street date. The arrival of "Punisher" cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. She doesn't write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. "Punisher", her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others. On "Punisher", Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys).
August 21 street date. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
August 21 street date. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
August 21 street date. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
August 21 street date. Limited transparent red/transparent orange vinyl edition. Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. 2020 is full of significant anniversaries for Bright Eyes. "Fevers And Mirrors" was released 20 years ago this May, while "Digital Ash in a Digital Urn" and "I'm Wide Awake It's Morning" both turned 15 in January. And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Bright Eyes reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
March 20 street date. Brownout's legendary status as a "Funk Powerhouse" (Stereogum) is a reputation well deserved. The band of musicians have an impressive resumé performing with Prince, GZA of the Wu-Tang Clan, Bernie Worrell, and accolades from Ozzy Osbourne for their "Brownout Presents: Brown Sabbath" project. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled "Berlin Sessions" was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful "Brown Sabbath" records. "Berlin Sessions" finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters.
March 20 street date. Brownout's legendary status as a "Funk Powerhouse" (Stereogum) is a reputation well deserved. The band of musicians have an impressive resumé performing with Prince, GZA of the Wu-Tang Clan, Bernie Worrell, and accolades from Ozzy Osbourne for their "Brownout Presents: Brown Sabbath" project. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled "Berlin Sessions" was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful "Brown Sabbath" records. "Berlin Sessions" finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters.
Please note new street date: May 15. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
Please note new street date: May 15. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
Please note new street date: May 15. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
August 28 street date. This 3 CD SoulMusic Records' set celebrates the recordings that Solomon Burke made for the legendary Atlantic Records label between 1960 and 1968. Solomon is generally acknowledged as one of the greatest soul singers to emerge during the genre's golden days. He signed to Atlantic before "soul music" became a bona fide sub-genre of African-American music and it was Solomon who helped define this new movement and he was, in fact, one of the first artists to use "soul" to describe his music. He would eventually be known the world over as ‘The King of Rock and Soul’. His Atlantic recordings are presented in chronological order of recording across the three discs and each session is identified by date, location and all the musicians present are identified (where known). This celebratory definitive collection includes the content of all six of the LPs released during Solomon's tenure with Atlantic plus all non-album tracks for a total of 79 soulful cuts.
September 25 street date. In the five years since Will Butler released his debut album, "Policy", he's toured the world both solo and as a member of Arcade Fire, released the "Friday Night" live album, recorded and released Arcade Fire's international #1 album "Everything Now", earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, "Generations". While the songs on "Generations" contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler's music. The band's electricity is palpable throughout "Generations", with the bulk of the new songs having been worked out live. "Generations" opens a dialogue with the world. It posits answers - and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth... or at least a way forward.
September 25 street date. In the five years since Will Butler released his debut album, "Policy", he's toured the world both solo and as a member of Arcade Fire, released the "Friday Night" live album, recorded and released Arcade Fire's international #1 album "Everything Now", earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, "Generations". While the songs on "Generations" contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler's music. The band's electricity is palpable throughout "Generations", with the bulk of the new songs having been worked out live. "Generations" opens a dialogue with the world. It posits answers - and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth... or at least a way forward.
September 25 street date. In the five years since Will Butler released his debut album, "Policy", he's toured the world both solo and as a member of Arcade Fire, released the "Friday Night" live album, recorded and released Arcade Fire's international #1 album "Everything Now", earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, "Generations". While the songs on "Generations" contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler's music. The band's electricity is palpable throughout "Generations", with the bulk of the new songs having been worked out live. "Generations" opens a dialogue with the world. It posits answers - and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth... or at least a way forward.
Please note new street date: February 26. Join Buzzcocks as they celebrate the 30th anniversary of the band's formation in front of a ravenous London audience. Recorded in December 2006, and never before released on vinyl, ‘30’ captures the band on excellent form, performing twentyeight songs from across their back catalogue, including their seminal late 70s hits and highlights from the rest of their career. Still wired, still buzzing with punk energy and still playing loud, fast and unapologetically, this is the sound of a band on unstoppable form, led, as ever, by the inimitable combination of Pete Shelley and Steve Diggle. Limited to 1000 copies, this red vinyl edition promises to be a must-have for die-hards and collectors, and a brilliant primer for those not yet in the know.
Please note new street date: June 12. Having disbanded in 1981, Buzzcocks regrouped in 1989 and began to work on a new album, resulting in a demo cassette circulated in 1991. Featuring early versions of tracks which would appear on later albums, and material which would not make it that far, this collection has remained unreleased until now. Released in association with the band, ‘The 1991 Demo Album’ is alive with the combination of punk energy and melodic and memorable songwriting the band's reputation is founded on, and is both a long-awaited treat for fans and an important document of the group's rebirth.
Please note new street date: June 12. Buzzcocks require no introduction (but you're getting one anyway!). Pivotal to the punk and post-punk DIY movements, the group, led by frontman Pete Shelley and co-conspirator Steve Diggle, brought an essential pop sensibility and sartorial style to the late 1970s and early 1980s. Having disbanded in 1981, the band re-grouped in 1989 and continue to write, record and perform to this day, despite the saddening and untimely loss of Pete Shelley in 2018. This handsome box set captures the eight albums and numerous singles the band produced with Shelley during a 23 year period, alongside previously unheard rarities, demos and outtakes. Packed with remarkable music, including excellent re-visits of much of their best loved material on ‘A Different Compilation’, ‘Sell You Everything’ showcases a longevity and a hunger rarely seen in a band now into their forty-second year.
August 14 street date. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to "Minecraft", the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). Now, following several restocks of "Alpha" to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have "Minecraft Volume Beta" in tangible formats. The double LP arrives in May 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
August 14 street date. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to "Minecraft", the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). Now, following several restocks of "Alpha" to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have "Minecraft Volume Beta" in tangible formats. The double LP arrives in May 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
March 27 street date. Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. The album was distributed internationally by independent distributors Cargo UK and Cargo Germany. They have also self released three 7-inch singles which have all sold out. The debut album is on its third vinyl pressing. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.
March 27 street date. Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. The album was distributed internationally by independent distributors Cargo UK and Cargo Germany. They have also self released three 7-inch singles which have all sold out. The debut album is on its third vinyl pressing. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th) Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th). Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th) Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
August 7 street date. Available again! Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Necroticism - Descanting The Insalubrious" is Carcass' third studio album and the first featuring guitarist Michael Amott. The album was well received by press and fans upon its original release in 1991 and was ranked in Rock Hard magazine's Top Rock/Metal Albums of all time.
January 29 street date (CD) / February 26 (LP) (date change). Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Swansong" is their sixth album, originally released in 1996.
August 7 street date. Available again! Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Necroticism - Descanting The Insalubrious" is Carcass' third studio album and the first featuring guitarist Michael Amott. The album was well received by press and fans upon its original release in 1991 and was ranked in Rock Hard magazine's Top Rock/Metal Albums of all time.
February 26 for LP (date change) / January 8 street date (CD). Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. "Reek of Putrefaction, originally released in 1988, gave the band their 'Goregrind' identity breeding the genres of grindcore and death metal. Presented with their famously controversial artwork consisting of extremely vivid images taken from a medical dictionary. Pressed from the original master tapes, this edition of "Reek Of Puterfaction" has been specially recreated using "FDR" - full dynamic range - mastering allowing the music's nuances to shine through and give this classic a more ferocious and dynamic sound.
March 5 street date. Songs from Caribou's "Suddenly" remixed by four exciting new artists. Dan Snaith says: "the best thing about remixes is getting to hear producers whose music I love rework my music. Shanti Celeste, India Jordan, Kareem Ali, and Logic1000" - I've been super excited by all of their music recently, and I feel really lucky that they were up for creating these beautiful remixes". Limited to 300 copies in North America.
August 7 street date. Hot on the heels of Caribou's celebrated album "Suddenly", this limited-edition 12-inch features remixes of album track "Never Come Back" by Four Tet and Morgan Geist. This is what it sounds like when the universe spontaneously synchronizes: the Four Tet remix of Caribou's single "Never Come Back". Kieran Hebden took the track and warped and bent it into a playfully hypnotic late-night earworm that lures you in with its repetitive claps, snares, and synths. Morgan Geist is one of the architects of modern electronic dance music and electronic pop as we know it today. His rework of "Never Come Back" pays tribute to the early 90s transatlantic house phenomenon that stretched from New York to London. Black vinyl in a white dustsleeve housed in a heavyweight cardstock jacket. Does not include a download coupon.
August 7 street date. This limited-edition 12-inch features Floating Points' remixes of "Never Come Back" and "Sister", two songs off Caribou's celebrated album "Suddenly". Three is the magic number! Following remixes by Four Tet and Morgan Geist of "Never Come Back", Floating Points' Sam Shepherd completes the holy trinity, outdoing himself by adding a dash of Motor City oil to the track. The B-side is his remix of "Suddenly" album opener "Sister". Black vinyl in a white dustsleeve housed in a heavyweight cardstock jacket. Does not include a download coupon.
February 28 street date. In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family—universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. “There’s a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes,” he observes. “We are so caught up in the immediate—the details that require our attention every day—that we can be blind to the bigger forces shaping us. That’s why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts.” Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. “I wanted to balance the familiar—the sound that people associate with my music— against these moments of surprise,” Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet. LP is half-speed mastered by Matt Colton of Metropolis Studios in London UK. First album with Dan Snaith vocals on all tracks. Saxophone & guitar performance by Colin Fisher. LP is pressed at RTI on lead-free black vinyl
February 28 street date. In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family—universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. “There’s a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes,” he observes. “We are so caught up in the immediate—the details that require our attention every day—that we can be blind to the bigger forces shaping us. That’s why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts.” Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. “I wanted to balance the familiar—the sound that people associate with my music— against these moments of surprise,” Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet. LP is half-speed mastered by Matt Colton of Metropolis Studios in London UK. First album with Dan Snaith vocals on all tracks. Saxophone & guitar performance by Colin Fisher. LP is pressed at RTI on lead-free black vinyl
May 29 street date. caroline’s debut 12" single features lead track ‘Dark blue’ (A side) and ‘BRJ’ (B side). London based caroline began as a three-piece (Jasper Llewellyn, Mike O'Malley, Casper Hughes) in early 2017, initially evolving out of weekly improvisation sessions. Bringing together shared influences in, and experiences of playing, midwestern ‘emo’ guitar music, Appalachian folk, minimalist classical and various forms of dance music. The group spent a year and a half playing privately, without a project name. Reiterating, deconstructing and re-building the same small handful of songs over and over again, the group slowly expanded their on-stage members before playing their debut show as caroline in 2018. A hand drawn 12” insert is included with all orders.
February 5 street date. Much has changed in the musical life of renowned composer and director John Carpenter since 2016's "Lost Themes II". Following the release of that album, he went on his first-ever concert tour, performing material from the "Lost Themes" albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's "Anthology" album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new "Halloween" movie directed by David Gordon Green. Now, he returns with his first album of non-soundtrack music in nearly five years, "Lost Themes III: Alive After Death". Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies' guitar and the dueling synthesizers played by the Carpenters.
February 5 street date. Much has changed in the musical life of renowned composer and director John Carpenter since 2016's "Lost Themes II". Following the release of that album, he went on his first-ever concert tour, performing material from the "Lost Themes" albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's "Anthology" album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new "Halloween" movie directed by David Gordon Green. Now, he returns with his first album of non-soundtrack music in nearly five years, "Lost Themes III: Alive After Death". Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies' guitar and the dueling synthesizers played by the Carpenters.
February 5 street date. Much has changed in the musical life of renowned composer and director John Carpenter since 2016's "Lost Themes II". Following the release of that album, he went on his first-ever concert tour, performing material from the "Lost Themes" albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's "Anthology" album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new "Halloween" movie directed by David Gordon Green. Now, he returns with his first album of non-soundtrack music in nearly five years, "Lost Themes III: Alive After Death". Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies' guitar and the dueling synthesizers played by the Carpenters. Includes a massive 24" x 36" foldout poster.
July 3 street date. Beggars Arkive is excited to reissue "Between 10th and 11th", the second album by The Charlatans, out on July 3rd. Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the often-bootlegged live show from Chicago in 1991, known as "Isolation 21.2.91", a holy grail amongst fans. "Between 10th and 11th" was originally released in 1992 and contained the hit "Weirdo", as well as singles "Tremolo Song" and "I Don't Want To See The Sights". Produced by Flood, you can hear the pure crispness in the audio. Entertainment Weekly said that "Between 10th and 11th" "consolidates the band's riveting, hypnotic attack, all musical tips o' the hat to the 60s and 70s, smeared over a smorgasbord of unrelenting dance beats and topped with hook ("I Don’t Want to See the Sights") after hook ("Weirdo")."
July 3 street date. Beggars Arkive is excited to reissue "Between 10th and 11th", the second album by The Charlatans, out on July 3rd. Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the often-bootlegged live show from Chicago in 1991, known as "Isolation 21.2.91", a holy grail amongst fans. "Between 10th and 11th" was originally released in 1992 and contained the hit "Weirdo", as well as singles "Tremolo Song" and "I Don't Want To See The Sights". Produced by Flood, you can hear the pure crispness in the audio. Entertainment Weekly said that "Between 10th and 11th" "consolidates the band's riveting, hypnotic attack, all musical tips o' the hat to the 60s and 70s, smeared over a smorgasbord of unrelenting dance beats and topped with hook ("I Don’t Want to See the Sights") after hook ("Weirdo")."
Please note new street date: May 29. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
Please note new street date: May 29. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
March 26 street date. Citizen have always eluded definition. The Toledo, Ohio-based four-piece have been making dynamic, wide-ranging guitar music for over ten years, challenging expectations with each new album and refusing to fit neatly in a box. On their fourth full-length, "Life In Your Glass World", Citizen have crafted their most singular work to date completely on their own terms - proving that only the band themselves can define their identity. Recorded in vocalist Mat Kerekes' home studio in his garage, Citizen's need to continue moving forward creatively went hand in hand with their desire to be fully in control of their creative destiny. The new process afforded the band time to focus on each song's individual mood, making their sig-nature blend of aggression and melody all the more pronounced, and even capturing appealing imperfections. The result is an album that represents the members' vision in its purest form, something that feels distinctly Citizen while also marking the start of a fresh chapter.
March 26 street date. Citizen have always eluded definition. The Toledo, Ohio-based four-piece have been making dynamic, wide-ranging guitar music for over ten years, challenging expectations with each new album and refusing to fit neatly in a box. On their fourth full-length, "Life In Your Glass World", Citizen have crafted their most singular work to date completely on their own terms - proving that only the band themselves can define their identity. Recorded in vocalist Mat Kerekes' home studio in his garage, Citizen's need to continue moving forward creatively went hand in hand with their desire to be fully in control of their creative destiny. The new process afforded the band time to focus on each song's individual mood, making their sig-nature blend of aggression and melody all the more pronounced, and even capturing appealing imperfections. The result is an album that represents the members' vision in its purest form, something that feels distinctly Citizen while also marking the start of a fresh chapter.
April 3 street date. Clams Casino stands amongst the most respected hip-hop producers in the game today. After several years of underground notoriety, Clams became widely known after producing several of the standout tracks on A$AP Rocky’s monolithic debut mixtape "Live. Love. ASAP" and has received widespread critical acclaim for his collaborations with Lil Peep, Vince Staples, Lil B, Mac Miller, The Weeknd, Joji amongst others. His hugely anticipated instrumental album "Moon Trip Radio" is a stunning collection of tracks that showcase his immense talent as both a composer and producer.
Please note new street date: February 12. What are we to make of the world? In many ways, the title "New Fragility" perfectly sums up our collective state of unease and anxiety, but it's particularly apt for singer songwriter Alec Ounsworth aka Clap Your Hands Say Yeah and the trauma he's spent the best part of three years processing. Yet it also showcases what Ounsworth has become so masterful at - couching a certain level of seriousness in something fun. Something danceable. It's what's powered some of Clap Your Hands Say Yeah's most memorable moments, and what makes "New Fragility" such an accomplished, affecting record. Powerful too, taking aim at what Ounsworth calls "the failed democratic experiment that is the United States of America" and the supine hypocrisy of those currently in government. Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision.
February 12 street date. Black vinyl edition. What are we to make of the world? In many ways, the title "New Fragility" perfectly sums up our collective state of unease and anxiety, but it's particularly apt for singer songwriter Alec Ounsworth aka Clap Your Hands Say Yeah and the trauma he's spent the best part of three years processing. Yet it also showcases what Ounsworth has become so masterful at - couching a certain level of seriousness in something fun. Something danceable. It's what's powered some of Clap Your Hands Say Yeah's most memorable moments, and what makes "New Fragility" such an accomplished, affecting record. Powerful too, taking aim at what Ounsworth calls "the failed democratic experiment that is the United States of America" and the supine hypocrisy of those currently in government. Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision.
Please note new street date: February 12. Milky clear translucent vinyl edition, limited to 1000 copies. What are we to make of the world? In many ways, the title "New Fragility" perfectly sums up our collective state of unease and anxiety, but it's particularly apt for singer songwriter Alec Ounsworth aka Clap Your Hands Say Yeah and the trauma he's spent the best part of three years processing. Yet it also showcases what Ounsworth has become so masterful at - couching a certain level of seriousness in something fun. Something danceable. It's what's powered some of Clap Your Hands Say Yeah's most memorable moments, and what makes "New Fragility" such an accomplished, affecting record. Powerful too, taking aim at what Ounsworth calls "the failed democratic experiment that is the United States of America" and the supine hypocrisy of those currently in government. Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision.
Please note new street date: March 26. David Kilgour on "Mister Pop": ""Mister Pop" began in Brooklyn, NY, at Gary Olson's Marlborough Farms studio and was completed in the basement hall of First Church Dunedin. There is more synthesizer on this album than the others, mainly an old Juno synth. I do remember having a bath in Brooklyn while Robert was downstairs singing and writing. I thought he was singing "he's a factory man", so I dried off and went down and wrote "Factory Man" while thinking heavily of The Kinks". Robert Scott on "Mister Pop": "I remember thinking at the start of the NY sessions with Gary Olson, "is this the start of a new album?". We were coming up with quite a bit of new stuff, and of course, Gary is great to work with. We carried on at Burlington St in Dunedin with (engineer and Heavy 8) Tex Houston at the controls, good fun from what I remember, lots of mucking around with keyboards and synths. We were going for that Krautrock groove and we sure got it on "Tensile", one of my faves along with the pure pop of "Dreamlife".
Please note new street date: March 26. David Kilgour on "Unknown Country": "The Clean always wanna try something different, but on this LP, we were obsessed with the idea. I remember we generally left vocal ideas to last, after the tracks were recorded, so we never really knew where we were headed. Might also explain all the instrumentals! Made during the Balkan War, hence the reference. And for the freaks, I think "Balkans" is the only Clean track ever to not actually feature The Clean playing. It's all Alan Starrett, as we removed the backing track". Robert Scott on "Unknown Country": "This album is very different from our other albums. We didn't go into the studio with many "song" ideas - a lot of it was written on the spot. I really enjoyed recording this as it was free of expectation. We weren't playing much live at the time. Certainly our most experimental album".
Please note new street date: February 26. Black vinyl edition. 2009's "Further Complications" is joined by a 12-inch featuring "You're In My Eyes (Discosong)".
Please note new street date: February 26. Black vinyl edition. 2006's "Jarvis" comes with a seven-inch single featuring his rabble-rousing classic single "Running The World", which was the subject of a UK, fan-campaign to get it into the Christmas charts last year in the aftermath of the general election.
Please note new street date: December 4 (CD). Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990s in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: "Music To Play In The Dark". Although the album's creative process was admittedly "iterative" and "a bit of a drug blur", the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse. What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels.
November 27 street date. Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990s in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: "Music To Play In The Dark". Although the album's creative process was admittedly "iterative" and "a bit of a drug blur", the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse. What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels.
Please note new street date: June 26. Coriky is a band from Washington, D.C. with Ian MacKaye (Fugazi, Minor Threat), Joe Lally (Fugazi), and Amy Farina (The Evens). Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.
Please note new street date: June 26. Coriky is a band from Washington, D.C. with Ian MacKaye (Fugazi, Minor Threat), Joe Lally (Fugazi), and Amy Farina (The Evens). Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.
March 27 street date. Forged in trauma and an intense, bewildering slew of mixed emotions - wildfires raged near the secluded cabin near Kelowna in which he was recording, his grandfather passed away from said wildfires during the recording process, and he discovered his new feelings of love were mutual only a day before she moved to Paris - Vancouver's Ian William Craig has created an album of incredible beauty, sadness and depth. "Red Sun Through Smoke" is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.
March 27 street date. Forged in trauma and an intense, bewildering slew of mixed emotions - wildfires raged near the secluded cabin near Kelowna in which he was recording, his grandfather passed away from said wildfires during the recording process, and he discovered his new feelings of love were mutual only a day before she moved to Paris - Vancouver's Ian William Craig has created an album of incredible beauty, sadness and depth. "Red Sun Through Smoke" is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.
August 29 RSD street date. Mikal Cronin experienced a creativity boom in late 2018/early 2019, inspired in part by the massive wildfires in Southern California. Forced to evacuate from the Idyllwild cabin where he’d been writing songs, Cronin returned to Los Angeles ready to make something. In fact, he recorded two albums: Seeker, released in October 2019, and its electronic counterpart Switched-On Seeker, out April 18, 2020, aka Record Store Day. The idea for Switched-On Seeker, whose title was inspired by a series of early electronic music records by Wendy Carlos playing classical music on an early Moog system, arose from Cronin’s interest in synths and electronic music, and he set out to rerecord the songs of Seeker track by track using only his voice and a collection of synthesizers and drum machines. Alone in his garage, Cronin made the album with a variety of synths including Arturia DrumBrute, Moog Sub 37, Moog Mother-32, Hohner String Performer, Mellotron, Omnichord, various little Casios, Roland SH-01A, Korg R3, and classic drum machine samples. While the overarching theme of destruction and rebirth unites Seeker and Switched-On Seeker, everything else about these two albums is different. Experience your favorite songs from Seeker in a whole new way on this Record Store Day exclusive LP!
January 15 street date. Rat-a-Tat-Tat! Is that the sound of the reaper knocking on your door to collect your soul - or Dale Crover hammering out another distinctive drum fill? There are pretty good odds it's the latter; between 36 years (and about as many full-lengths and EPs) as drummer/bassist for the Melvins and his contributions to acts as varied as Altamont, Peeping Tom, Redd Kross, Shrinebuilder, and a little band called Nirvana, he's built quite the body of work. In 2017, he added a proper solo album to his extensive catalog, "Fickle Finger of Fate". Now he's followed that with "Rat-a-Tat-Tat!". Crover takes the solo thing seriously: he wrote the album while on the road and provided vocals, drums, guitars, vibraphone, and miscellaneous percussion. So what's different this time around? Crover assembled an actual band to help him out. Redd Kross bassist Steve McDonald asked Crover to open for Redd Kross, Crover asked McDonald to play bass for him, and the rest is history.In addition to McDonald, Toshi Kasai (ex-Big Business, Plan D) helps with keyboards, synths, jawharp, and backing vocals. Mindee Jorgensen (Dangerously Sleazy) sits behind the kit live and contributes additional drumming and some sweet saxophone skills here. His former Altamont bandmate Dan Southwick plays bass on "Tougher", a track Crover cowrote with Kasai.
January 15 street date. Rat-a-Tat-Tat! Is that the sound of the reaper knocking on your door to collect your soul - or Dale Crover hammering out another distinctive drum fill? There are pretty good odds it's the latter; between 36 years (and about as many full-lengths and EPs) as drummer/bassist for the Melvins and his contributions to acts as varied as Altamont, Peeping Tom, Redd Kross, Shrinebuilder, and a little band called Nirvana, he's built quite the body of work. In 2017, he added a proper solo album to his extensive catalog, "Fickle Finger of Fate". Now he's followed that with "Rat-a-Tat-Tat!". Crover takes the solo thing seriously: he wrote the album while on the road and provided vocals, drums, guitars, vibraphone, and miscellaneous percussion. So what's different this time around? Crover assembled an actual band to help him out. Redd Kross bassist Steve McDonald asked Crover to open for Redd Kross, Crover asked McDonald to play bass for him, and the rest is history.In addition to McDonald, Toshi Kasai (ex-Big Business, Plan D) helps with keyboards, synths, jawharp, and backing vocals. Mindee Jorgensen (Dangerously Sleazy) sits behind the kit live and contributes additional drumming and some sweet saxophone skills here. His former Altamont bandmate Dan Southwick plays bass on "Tougher", a track Crover cowrote with Kasai.
September 18 street date. Cults were deep into the process of recording their fourth full-length LP when singer Madeline Follin let a secret slip. At the time, it seemed inconsequential, just a passing comment amongst friends, but in the end, it would prove to be a monumental revelation, one that would change the acclaimed New York duo forever. What followed was a radical reimagining, both of the band's sound and its dynamic, and the result is Cults' utterly mesmerizing new album, ‘Host’. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. Four albums in and the duo is still discovering fresh layers and possibility within their creative relationship, a bond which grows richer and more rewarding by the day.
September 18 street date. Cults were deep into the process of recording their fourth full-length LP when singer Madeline Follin let a secret slip. At the time, it seemed inconsequential, just a passing comment amongst friends, but in the end, it would prove to be a monumental revelation, one that would change the acclaimed New York duo forever. What followed was a radical reimagining, both of the band's sound and its dynamic, and the result is Cults' utterly mesmerizing new album, ‘Host’. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. Four albums in and the duo is still discovering fresh layers and possibility within their creative relationship, a bond which grows richer and more rewarding by the day.
September 18 street date. Cults were deep into the process of recording their fourth full-length LP when singer Madeline Follin let a secret slip. At the time, it seemed inconsequential, just a passing comment amongst friends, but in the end, it would prove to be a monumental revelation, one that would change the acclaimed New York duo forever. What followed was a radical reimagining, both of the band's sound and its dynamic, and the result is Cults' utterly mesmerizing new album, ‘Host’. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. Four albums in and the duo is still discovering fresh layers and possibility within their creative relationship, a bond which grows richer and more rewarding by the day.
Please note new street date: December 18. Sudden Death and D.O.A. have gone back in time and restored one of punk's seminal albums, "Something Better Change", and reissued it on vinyl for its 40th anniversary. One also gets the original lyric sheet insert and the original foldout insert with pics of Joey Shithead, Chuck Biscuits, Randy Rampage and Dave Gregg. "The product of two years of solid gigging in their native Vancouver, by the hottest punk rock band the West Coast ever produced this side of the much different Weirdos and Avengers, "Something Better Change" features a trio so molten, they didn't even manage to get it all down in the studio. And yet it still is an absolutely awesome record. So heavy with chops it nearly leaks, soaring like the best Clash/Pistols/S.L.F. riffs filtered through an American anvil power even those greats couldn't approach." - Jack Rabid.
Please note street date is July 31. Joey Shithead Keithley, Canada's Godfather of Punk, has been getting sick of the dismaying news coming out of world capitals like Washington, Moscow, Beijing, Tehran, Pyongyang etc., so he decided to come up with D.O.A.'s musical reaction to this crap. So here it is: "Treason" - the band's eighteenth album. It takes off in full frenzy with "All The President"s Men" - "it's time to put them in the pen". Then the band quickly launches into a modern punk anthem, "Wait Till Tomorrow", a look at the brutal treatment of refugees. But never lost on D.O.A. is that part of their mantra that is punk rock humour, hence they have spawned: "It Was D.O.A.", an uproarious piss-take on unsuspecting musicians that will soon learn the tough lessons of the road: the D.O.A. members themselves. And of course with an album named "Treason", one would expect some comment on President Donald Trump. There's also an absolutely ripping version of fellow Canadian Neil Young's "Hey Hey, My My". On "Treason", D.O.A. pulls no punches, and nor should they. This is an uncontrollable punk rock riot that seems to breathe fire, the way punk was meant to be.
Please note street date is July 31. Joey Shithead Keithley, Canada's Godfather of Punk, has been getting sick of the dismaying news coming out of world capitals like Washington, Moscow, Beijing, Tehran, Pyongyang etc., so he decided to come up with D.O.A.'s musical reaction to this crap. So here it is: "Treason" - the band's eighteenth album. It takes off in full frenzy with "All The President"s Men" - "it's time to put them in the pen". Then the band quickly launches into a modern punk anthem, "Wait Till Tomorrow", a look at the brutal treatment of refugees. But never lost on D.O.A. is that part of their mantra that is punk rock humour, hence they have spawned: "It Was D.O.A.", an uproarious piss-take on unsuspecting musicians that will soon learn the tough lessons of the road: the D.O.A. members themselves. And of course with an album named "Treason", one would expect some comment on President Donald Trump. There's also an absolutely ripping version of fellow Canadian Neil Young's "Hey Hey, My My". On "Treason", D.O.A. pulls no punches, and nor should they. This is an uncontrollable punk rock riot that seems to breathe fire, the way punk was meant to be.
Please note new street date: June 12. The brand new studio album from punk/metal icon and powerhouse vocalist Glenn Danzig paying tribute to his idol and inspiration, Elvis Presley! Features 14 unforgettable interpretations of well-known Elvis classics and unheralded deep cuts that will thrill fans of both of these kings of rock music! Highlights include Danzig's sinister take on "Fever" and a truly haunting version of "Always On My Mind!" Danzig is no stranger to working with American music royalty having written songs for both Johnny Cash and Roy Orbison! Available in a special digipak for CD and on vinyl in a deluxe gatefold jacket!
Please note new street date: June 12. The brand new studio album from punk/metal icon and powerhouse vocalist Glenn Danzig paying tribute to his idol and inspiration, Elvis Presley! Features 14 unforgettable interpretations of well-known Elvis classics and unheralded deep cuts that will thrill fans of both of these kings of rock music! Highlights include Danzig's sinister take on "Fever" and a truly haunting version of "Always On My Mind!" Danzig is no stranger to working with American music royalty having written songs for both Johnny Cash and Roy Orbison! Available in a special digipak for CD and on vinyl in a deluxe gatefold jacket!
February 28 street date. Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For "Signals", his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet. Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself. "Signals " is an album with a lot to discover, and repeat listens will reveal an inviting - if a bit unnerving - world that you'll want to spend all day in.
February 28 street date. Limited smoke coloured vinyl edition. Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For "Signals", his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet. Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself. "Signals " is an album with a lot to discover, and repeat listens will reveal an inviting - if a bit unnerving - world that you'll want to spend all day in.
Please note new street date: May 29. Veteran thrashgrass band Days N Daze has spent more than a decade doing it themselves in a way few can match. From the beginning, they have forged their own path - playing acoustically so they'd have less gear and could perform anywhere, booking and promoting themselves, and self-recording and self-releasing their albums. In the rare instances when they work with outsiders, they stick with people they know. Which is why, after a dozen hardscrabble years, they've joined Fat Wreck Chords for their eighth full-length! Like previous Days N Daze albums, "Show Me The Blueprints" crams more ideas into its 11 tracks than albums twice its length. "Show Me The Blueprints" is a bold step forward for a band that has always followed a bold path.
Please note new street date: May 29. Veteran thrashgrass band Days N Daze has spent more than a decade doing it themselves in a way few can match. From the beginning, they have forged their own path - playing acoustically so they'd have less gear and could perform anywhere, booking and promoting themselves, and self-recording and self-releasing their albums. In the rare instances when they work with outsiders, they stick with people they know. Which is why, after a dozen hardscrabble years, they've joined Fat Wreck Chords for their eighth full-length! Like previous Days N Daze albums, "Show Me The Blueprints" crams more ideas into its 11 tracks than albums twice its length. "Show Me The Blueprints" is a bold step forward for a band that has always followed a bold path.
September 26 street date. NOTE THAT THERE HAS BEEN A SLIGHT PRICE INCREASE ON THIS TITLE, ALL OLDER B/Os HAVE BEEN DELETED AS OF 7/8/20 SO BE SURE TO RE-ORDER A.S.A.P. Green Colored 180 Gram Vinyl + Download card. Pre-GWAR mayhem. This is the band that started it all. Before Oderus Urungus, Dave Brockie fronted Richmond VA art-punk weirdos, Death Piggy. First American vinyl pressing in over 30 years. All 3 of their EPs are combined with unreleased and compilation tracks on 180 gram vinyl with experimental etchings, remastered from the original tapes and with liner notes written by the band's guitarist Russ Bahorsky. BONUS Download: 20 minute never before heard live improv acoustic set from 1984, recorded as the band surprised business owners and pedestrians on the street with an impromptu performance.
June 19 street date. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: June 19. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: June 19. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: September 18. Vocalist, multi-instrumentalist and sonic visionary Angel Deradoorian has never shied away from testing aural and conceptual boundaries in her work. Fusing elements of indie rock, world music, and dance rhythms, Deradoorian launched a solo career after making a name for herself collaborating with notable acts Dirty Projectors, Avey Tare of Animal Collective, and Flying Lotus. Deradoorian has released two full-length solo albums, Mind Raft in 2010 (Lovepump United) and The Expanding Flower Planet in 2015 (Anticon). Her music is a fusion of riveting vocals co-mingling with various of instruments – a true testament to an artist who found new depths both within herself and in her process through allowing herself to be driven entirely by instinct. Now signed with ANTI- records, Deradoorian is set to release her third album Find The Sun on May 22.
January 31 street date. Destroyer conceived of Have We Met as a Y2K album. Dan Bejar assigned producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” The result is not a startling departure from 2017’s ken, but unlike that more band-oriented approach, the only actual instruments that appear are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, but Have We Met is buoyed by precise, plasticky guitar shredding three dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date. Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record— certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
January 31 street date. Destroyer conceived of Have We Met as a Y2K album. Dan Bejar assigned producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” The result is not a startling departure from 2017’s ken, but unlike that more band-oriented approach, the only actual instruments that appear are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, but Have We Met is buoyed by precise, plasticky guitar shredding three dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date. Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record— certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
March 12 street date. "Dies Occidendum" is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, DJ Muggs The Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious "Dies Occidendum". No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.
March 12 street date. "Dies Occidendum" is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, DJ Muggs The Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious "Dies Occidendum". No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.
March 12 street date. "Dies Occidendum" is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, DJ Muggs The Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious "Dies Occidendum". No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.
August 14 street date. Tanya Donelly and the Parkington Sisters cover some of Tanya's favorite songs by The Go Go's, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O'Hara on this outstanding new album. "When Joe from American Laundromat asked if I'd be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said Yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over".
August 14 street date. Tanya Donelly and the Parkington Sisters cover some of Tanya's favorite songs by The Go Go's, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O'Hara on this outstanding new album. "When Joe from American Laundromat asked if I'd be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said Yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over".
February 7 street date. Dooz Kawa revient avec son cinquième album, "Nomad's Land", dont le fil conducteur est le voyage, une échappée belle physique mais avant tout spirituelle et philosophique. Cet album se veut onirique et plein d'espoir en dépit du constat parfois difficile du rappeur. Sur ce disque fait de tristesse gaie, Dooz Kawa nous parle en treize chansons du bonheur et de ce qui nous lie. Il invite pour l'occasion Gaël Faye, Davodka, Degiheugi, Shantel, Swift Guad et le spécialiste en mandoline Vincent Beer Demander. Le tout est entrecoupé d’interludes avec Dorian Astor, maitre de conférences international et expert européen de Nietzsche. Force est de constater que peu importe le temps qui passe, peu importe les années qui défilent et l’âge qui avance, les mots de Dooz Kawa, seul ou accompagné, font toujours le même effet.
February 7 street date. Dooz Kawa revient avec son cinquième album, "Nomad's Land", dont le fil conducteur est le voyage, une échappée belle physique mais avant tout spirituelle et philosophique. Cet album se veut onirique et plein d'espoir en dépit du constat parfois difficile du rappeur. Sur ce disque fait de tristesse gaie, Dooz Kawa nous parle en treize chansons du bonheur et de ce qui nous lie. Il invite pour l'occasion Gaël Faye, Davodka, Degiheugi, Shantel, Swift Guad et le spécialiste en mandoline Vincent Beer Demander. Le tout est entrecoupé d’interludes avec Dorian Astor, maitre de conférences international et expert européen de Nietzsche. Force est de constater que peu importe le temps qui passe, peu importe les années qui défilent et l’âge qui avance, les mots de Dooz Kawa, seul ou accompagné, font toujours le même effet.
February 14 street date (LP) / February 21 for CD (date change). The simple power of DRAMA's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled "Dance Without Me", a refined collection that recasts romantic tragedy as moonlit self-acceptance. DRAMA's first record appears remarkably refined for a young band; Rosa's lyrical candor creates expressionistic narratives about interpersonal intricacies all finessed for the club by Shehade. Here we see a lyricist whose vocal stylings are, not just complimented, but completed by a producer, and a producer whose genteel tracks are given a soul, however blue, depicted in a collaborator's deeply human lyrics.
February 14 street date (LP) / February 21 for CD (date change). The simple power of DRAMA's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled "Dance Without Me", a refined collection that recasts romantic tragedy as moonlit self-acceptance. DRAMA's first record appears remarkably refined for a young band; Rosa's lyrical candor creates expressionistic narratives about interpersonal intricacies all finessed for the club by Shehade. Here we see a lyricist whose vocal stylings are, not just complimented, but completed by a producer, and a producer whose genteel tracks are given a soul, however blue, depicted in a collaborator's deeply human lyrics.
April 2 street date. Dry Cleaning, The South London group of Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals) will release "New Long Leg" on 2 April. The 10-track long-player was recorded over two weeks last summer at Rockfield Studios in rural Wales with producer John Parish (PJ Harvey, Aldous Harding). Following on from their thrillingly taut 2019 EPs "Boundary Road Snacks And Drinks" and "Sweet Princess", "New Long Leg" is more ambitious and complex, with Shaw's spoken vocals tightly intertwined with the band's restless instrumentals. Dry Cleaning was formed by friends Tom Dowse, Nick Buxton and Lewis Maynard after a karaoke party in 2017 inspired a collaboration. They wrote instrumentally to begin with until six months later Florence Shaw, a visual artist, university lecturer and picture researcher by day - with no prior musical experience - turned up to a band rehearsal armed with reams of her own collected writing and a copy of Michael Bernard Loggins' "Fears Of Your Life" to read out over the music. Before long she was the group's front-person, contributing words of her own, and serving as the perfect foil to the band's music.
April 2 street date. Dry Cleaning, The South London group of Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals) will release "New Long Leg" on 2 April. The 10-track long-player was recorded over two weeks last summer at Rockfield Studios in rural Wales with producer John Parish (PJ Harvey, Aldous Harding). Following on from their thrillingly taut 2019 EPs "Boundary Road Snacks And Drinks" and "Sweet Princess", "New Long Leg" is more ambitious and complex, with Shaw's spoken vocals tightly intertwined with the band's restless instrumentals. Dry Cleaning was formed by friends Tom Dowse, Nick Buxton and Lewis Maynard after a karaoke party in 2017 inspired a collaboration. They wrote instrumentally to begin with until six months later Florence Shaw, a visual artist, university lecturer and picture researcher by day - with no prior musical experience - turned up to a band rehearsal armed with reams of her own collected writing and a copy of Michael Bernard Loggins' "Fears Of Your Life" to read out over the music. Before long she was the group's front-person, contributing words of her own, and serving as the perfect foil to the band's music.
March 13 street date. First time on vinyl. "Placer Found" establishes the sonic and emotional palette that would come to define Dan Burton's work as Early Day Miners. This is music that rewards patience, and reveals itself more with each listen. There's a deep clarity within the soft focus - equal parts lost and found. The opening title track sets the mood just right, its comforting guitar interplay and gentle vocals holding your hand toward an unseen destination that's "still a ways to go." "East Berlin at Night" is the definition of cinematic, almost like an Ativin song with the amplifiers turned down from 12 to 3, while the last two minutes of "Texas Cinema," are the equivalent of a deep embrace from which you never want to let go. This new edition brings it all back to the proverbial start, as it is being released on Secretly Canadian which championed Ativin from the beginning and quickly became a home for Early Day Miners after the initial Western Vinyl release of "Placer Found." The two unreleased instrumental tracks on side D are fascinating glimpses into creative paths not taken. "Prospect Refuge" is a delicious slice of posi-vibes math-rock, while the taut, vaguely ominous "Blue Casino" makes an entirely different song out of a riff later utilized for the standout "Jefferson" from the band's 2003 "Jefferson at Rest" LP.
Please note new street date: June 5. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 5. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 5. Limited opaque white vinyl edition. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
March 26 street date. Fresh off of their 2020 offering "Adult Themes", El Michels Affair is back with a new full-length release. Titled "Yeti Season", this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where "Adult Themes" inspired a soundtrack to an imaginary film, "Yeti Season" brings us to a different place in time - with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with "Yeti Season". If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. It's a heavy album - as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better - or fuller -coming our way. The limited edition deluxe version comes with a 50 page children's book inspired by the album.
March 26 street date. Fresh off of their 2020 offering "Adult Themes", El Michels Affair is back with a new full-length release. Titled "Yeti Season", this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where "Adult Themes" inspired a soundtrack to an imaginary film, "Yeti Season" brings us to a different place in time - with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with "Yeti Season". If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. It's a heavy album - as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better - or fuller -coming our way. The limited edition deluxe version comes with a 50 page children's book inspired by the album.
March 26 street date. Fresh off of their 2020 offering "Adult Themes", El Michels Affair is back with a new full-length release. Titled "Yeti Season", this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where "Adult Themes" inspired a soundtrack to an imaginary film, "Yeti Season" brings us to a different place in time - with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with "Yeti Season". If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. It's a heavy album - as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better - or fuller -coming our way. The limited edition deluxe version comes with a 50 page children's book inspired by the album.
March 26 street date. Fresh off of their 2020 offering "Adult Themes", El Michels Affair is back with a new full-length release. Titled "Yeti Season", this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where "Adult Themes" inspired a soundtrack to an imaginary film, "Yeti Season" brings us to a different place in time - with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with "Yeti Season". If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. It's a heavy album - as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better - or fuller -coming our way. The limited edition deluxe version comes with a 50 page children's book inspired by the album.
Delayed. Out of print and unavailable for many years, "Peter" is one of the most memorable Eric's Trip releases, as it is the EP that introduced them to the world. Their youthful energy, catchy songs, and noisy lo-fi recording techniques set them apart from many of the other bands of 1992-93. This newly remixed and remastered vinyl edition now contains more songs, all recorded during the same time period, including the songs from the Belong 7", their first single. Six songs has now become fifteen, turning the "Peter" EP into the "Peter" LP! Pressed on three colour swirl vinyl, newly scanned artwork and printed inner sleeve. Limited pressing as usual!
March 13 street date. Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favor of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers'’ individualism, optimism and deeply empathetic soul. Espers' self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn't shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.
March 13 street date. Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favor of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers'’ individualism, optimism and deeply empathetic soul. Espers' self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn't shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.
March 13 street date. The second Espers album, "The Weed Tree" was released in 2005. It was a nearly inevitable endeavor for the group, made almost entirely of cover material, but the traditional folk songs - "Rosemary Lane" and "Black Is The Color" - were paired with songs by Nico, Michael Hurley, and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers' thorough re-imagining of the material in their own image. The addition of current members Helena Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition, but making it new at the same time.
March 13 street date. The second Espers album, "The Weed Tree" was released in 2005. It was a nearly inevitable endeavor for the group, made almost entirely of cover material, but the traditional folk songs - "Rosemary Lane" and "Black Is The Color" - were paired with songs by Nico, Michael Hurley, and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers' thorough re-imagining of the material in their own image. The addition of current members Helena Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition, but making it new at the same time.
Please note new street date: March 13. Smile With Your Heart: The Best of Bill Evans on Resonance takes listeners on a journey through the four official Bill Evans discoveries in the Resonance catalog — Live at Art D’Lugoff’s Top of the Gate (2012), Some Other Time: The Lost Session from the Black Forest (2016), Another Time: The Hilversum Concert (2017) & Evans In England (2019). Mastered by Bernie Grudman and pressed on 180-gram vinyl at RTI.
Please note new street date: September 26 Record Store Day Drop. Back by overwhelming popular demand, the critically acclaimed 2016 Resonance release by jazz piano icon Bill Evans, Some Other Time: The Lost Session from the Black Forest, is available once again as a deluxe, exclusive Record Store Day limited-edition (of 6,000 copies worldwide) 180gram 2LP 2nd pressing newly-remastered by renowned engineer Kevin Gray at Cohearent Audio, cut at 33 1/3 RPM and pressed by RTI. This studio album features bassist Eddie Gomez and drummer Jack DeJohnette, recorded by legendary engineer/producer Hans Georg Brunner-Schwer at MPS Studios in Villingen, Germany on June 20, 1968, only five days after the trio's tour de force live performance at the Montreux Jazz Festival. The extensive LP insert includes essays by the acclaimed author Marc Myers and MPS studios engineer and studio manager Friedhelm Schulz; interviews with Eddie Gomez and Jack DeJohnette; plus previously unpublished photos by David Redfern, Giuseppe Pino, Jan Persson, and Hans Harzheim, including images taken at the actual June 20th session by German Hasenfratz.
February 26 street date. Swedish dark melodic metal masters Evergrey return with their 12th album - dark and heavy, the phoenix is rising! Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit - a more metal version of "The Atlantic", with songs that are more direct - according to Englund and producer Jacob Hansen.
February 26 street date. Swedish dark melodic metal masters Evergrey return with their 12th album - dark and heavy, the phoenix is rising! Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit - a more metal version of "The Atlantic", with songs that are more direct - according to Englund and producer Jacob Hansen.
February 26 street date. Swedish dark melodic metal masters Evergrey return with their 12th album - dark and heavy, the phoenix is rising! Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit - a more metal version of "The Atlantic", with songs that are more direct - according to Englund and producer Jacob Hansen.
February 26 street date. Swedish dark melodic metal masters Evergrey return with their 12th album - dark and heavy, the phoenix is rising! Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit - a more metal version of "The Atlantic", with songs that are more direct - according to Englund and producer Jacob Hansen.
February 26 street date. Swedish dark melodic metal masters Evergrey return with their 12th album - dark and heavy, the phoenix is rising! Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit - a more metal version of "The Atlantic", with songs that are more direct - according to Englund and producer Jacob Hansen.
May 8 street date. From the opening call of Flash Flash Flash’s “No Revolution,” Boston’s punk rock patriots the Explosion make their statement quite clear. Lyrics like “We look to the past, and ask for nothing more” drive home the band’s unapologetic point -- sure they wish it was 1977, but they know full well that it isn’t. With that in mind, the band’s debut LP still sees them tumble through 14 tracks of dirty Clash-styled punk rock in under a half hour -- a performance that would make their forefathers proud. It’s simple music and far from mind-blowing lyrics that form the basis of the Explosion’s attack, but it’s their high-energy attitude that carries their music to the next level. Tracks like “Terrorist” and “God Bless the S.O.S” are short speedy bursts of punk packed with catchy choruses and thick guitars, a recipe that the band often employs and generally finds success with. After their poorly recorded first EP, Flash Flash Flash’s to-the-point presentation makes it clear that all this band needed was a little polishing to make a great record. They certainly got it down this time around, and the result is one of the better punk albums to arise from a scene that has already lasted a few more decades than expected. – AllMusic.com. SPIN Top 20 Albums Of 2000.
May 8 street date. From the opening call of Flash Flash Flash’s “No Revolution,” Boston’s punk rock patriots the Explosion make their statement quite clear. Lyrics like “We look to the past, and ask for nothing more” drive home the band’s unapologetic point -- sure they wish it was 1977, but they know full well that it isn’t. With that in mind, the band’s debut LP still sees them tumble through 14 tracks of dirty Clash-styled punk rock in under a half hour -- a performance that would make their forefathers proud. It’s simple music and far from mind-blowing lyrics that form the basis of the Explosion’s attack, but it’s their high-energy attitude that carries their music to the next level. Tracks like “Terrorist” and “God Bless the S.O.S” are short speedy bursts of punk packed with catchy choruses and thick guitars, a recipe that the band often employs and generally finds success with. After their poorly recorded first EP, Flash Flash Flash’s to-the-point presentation makes it clear that all this band needed was a little polishing to make a great record. They certainly got it down this time around, and the result is one of the better punk albums to arise from a scene that has already lasted a few more decades than expected. – AllMusic.com. SPIN Top 20 Albums Of 2000.
Please note new street date: May 15. "I first heard Daniel in 1985. Half Japanese had a show in Austin and Daniel's manager Jeff Tartakov gave me a tape of "Hi How Are You?". I loved it and began corresponding with Jeff and Daniel. A few years later I was in NYC to take part in a recording session of Moe Tucker at Kramer's studio Noise New York. Daniel was at the studio and he and I became friends. Daniel recorded two songs with lyrics I wrote. He recorded "Do It Right" for Moe's album, and "Some Things Last A Long Time" for his album "1990". Soon after his time in NYC I invited him to my home and we had a week to record the songs for "It's Spooky". I considered Daniel to be a genius. I am so grateful to have had the opportunity to work with him. I'm so grateful to have it released again and it's sounding better than ever thanks to an amazing mastering job by Kramer". - Jad Fair.
May 22 street date. In early 2016, D.C. punk legends Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, One Last Wish) met up at Hampton's Brooklyn home to play music together. Friends since first grade, the two guitarists ended up writing a handful of songs that day, then closed out the session with a spur-of-the-moment decision to start a band. When it came to finding a bassist, Baker and Hampton looked to Johnny Temple of Girls Against Boys and Soulside (another fellow student at their elementary school), who equally shared their passion for what Temple refers to as "loud, angry, visceral music." By the end of the year, the band had enlisted Refused frontman Dennis Lyxzén as their singer, thus cementing the lineup to punk-rock supergroup Fake Names. Soon after dubbing themselves Fake Names, the band headed to Renegade Studios with the goal of creating a demo to present to record labels. But after playing those recordings for Baker's Bad Religion bandmate Brett Gurewitz, the Epitaph founder made an unexpected proposal. "Brett said to us, "this isn't a demo, this is the album," Baker recalls. "He was pretty adamant about putting it out exactly as it was, so that's what we wound up doing."
May 22 street date. In early 2016, D.C. punk legends Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, One Last Wish) met up at Hampton's Brooklyn home to play music together. Friends since first grade, the two guitarists ended up writing a handful of songs that day, then closed out the session with a spur-of-the-moment decision to start a band. When it came to finding a bassist, Baker and Hampton looked to Johnny Temple of Girls Against Boys and Soulside (another fellow student at their elementary school), who equally shared their passion for what Temple refers to as "loud, angry, visceral music." By the end of the year, the band had enlisted Refused frontman Dennis Lyxzén as their singer, thus cementing the lineup to punk-rock supergroup Fake Names. Soon after dubbing themselves Fake Names, the band headed to Renegade Studios with the goal of creating a demo to present to record labels. But after playing those recordings for Baker's Bad Religion bandmate Brett Gurewitz, the Epitaph founder made an unexpected proposal. "Brett said to us, "this isn't a demo, this is the album," Baker recalls. "He was pretty adamant about putting it out exactly as it was, so that's what we wound up doing."
November 13 street date (LP) / December 11 (Cassette). Hailing from Orangeville, Ontario, Falcon Jane's second album "Faith" started coming together at the beginning of 2019 when Sara May, the artist behind the band, experienced a string of deaths in her family. Attending a seemingly endless number of traditional Catholic funerals within the space of a year caused May to dive inwards, reassessing her own notions of memory, grief, love, ceremony and identity. "Faith" is a way of excavating her truth through clear-eyed self-examination. This new faith is presented in "Heaven", a track that culminates these internal struggles with an idyllic, peaceful state. Says Sara, "that's where I'm trying to get to. The rest of the songs are doing the hard work to try to get there".
January 17 street date. The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. There are ten of these musical haikus on "Countless Branches", as pointed and as poignant as anything he's ever recorded. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
January 17 street date. Deluxe edition 2xLP set includes two exclusive tracks and a reworking of "Don't Let My Marigolds Die". The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
December 11 street date. Beggars Arkive are happy to announce a 30th anniversary vinyl reissue of Fields Of The Nephilim's third highly acclaimed album "Elizium", released by Beggars Banquet in 1990. Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road. It’s pressed on dark green 180g vinyl. Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. Carl McCoy has even been called the "uncle" of black metal. "Elizium" is one of their most beautiful albums and considered by many to be their best.
Please note new street date: December 11. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene, this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace", this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general!
Please note new street date: December 11. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene, this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace", this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general!
Please note new street date: August 29 - RECORD STORE DAY DROP. We are proud to present the instrumental version of "The Tales People Tell", showcasing Kelly Finnigan's superior production and arrangement talents. His debut solo album for Colemine Records represents the culmination of his 15 years of experience - in the studio as a songwriter, multi-instrumentalist, engineer, producer - and touring the US and Europe as a singer, musician, and band-leader. The content within reflects his dedication to expression through the rich American music traditions of soul, gospel, doo-wop, and R&B. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music: a visionary that writes, records, performs and produces his own material.
Available now. Each time Firewind released an album over the last 20 years, it wasn't just the brilliancy of exceptional guitarist Gus G (Ozzy Osbourne, Arch Enemy, Dream Evil) that fans were in awe of, but also the skills of every one of the band's vocalists. In that respect nothing has changed in their newest self-titled album, quite the contrary: with his charismatic voice new member Herbie Langhans (Avantasia, Radiant, Seventh Avenue, amongst others) refines each and every last one of the ten new songs and infuses them with an expressive force that is remarkable. Gus G and Herbie Langhans got to know each other back in the autumn of 2019, when the Firewind leader was looking for a suitable replacement for Henning Basse after the tour with Queensrÿche. Just a few weeks later the recordings for "Firewind" were a done deal, ready for Swedish sound engineer Tobias Lindell (Europe, Avatar, H.E.A.T.) to mix them in Lindell Audio Studios. The result is impressive indeed. "Firewind" boasts 11 prime examples of Melodic Metal songs. The skill, craftsmanship and power bleeds through every note, a passion you can almost taste, with hymnal melodies as a particularly outstanding feature.
Available now. Limited orange vinyl edition. Each time Firewind released an album over the last 20 years, it wasn't just the brilliancy of exceptional guitarist Gus G (Ozzy Osbourne, Arch Enemy, Dream Evil) that fans were in awe of, but also the skills of every one of the band's vocalists. In that respect nothing has changed in their newest self-titled album, quite the contrary: with his charismatic voice new member Herbie Langhans (Avantasia, Radiant, Seventh Avenue, amongst others) refines each and every last one of the ten new songs and infuses them with an expressive force that is remarkable. Gus G and Herbie Langhans got to know each other back in the autumn of 2019, when the Firewind leader was looking for a suitable replacement for Henning Basse after the tour with Queensrÿche. Just a few weeks later the recordings for "Firewind" were a done deal, ready for Swedish sound engineer Tobias Lindell (Europe, Avatar, H.E.A.T.) to mix them in Lindell Audio Studios. The result is impressive indeed. "Firewind" boasts 11 prime examples of Melodic Metal songs. The skill, craftsmanship and power bleeds through every note, a passion you can almost taste, with hymnal melodies as a particularly outstanding feature.
April 2 street date (CD and Cassette) / April 30 (LPs) (date change). On her second full-length record, "Head of Roses", Jenn Wasner (Wye Oak) follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner's ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. Simply put, "Head of Roses" is a record about heartbreak, but from a dualistic perspective. It's about the experience of having one's heart broken and breaking someone else's heart at the same time. But beyond that, it's about having to reconcile the experience of one's own pain with the understanding that it's impossible to go through life without being the source of great pain for someone else. Carefully curated and culled from the depths of Wasner's heartbreak and healing, it's deeply, intensely personal.
April 2 street date (CD and Cassette) / April 30 (LPs) (date change). On her second full-length record, "Head of Roses", Jenn Wasner (Wye Oak) follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner's ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. Simply put, "Head of Roses" is a record about heartbreak, but from a dualistic perspective. It's about the experience of having one's heart broken and breaking someone else's heart at the same time. But beyond that, it's about having to reconcile the experience of one's own pain with the understanding that it's impossible to go through life without being the source of great pain for someone else. Carefully curated and culled from the depths of Wasner's heartbreak and healing, it's deeply, intensely personal.
February 21 street date. Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled "Waxing Moon". While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as co-founder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon's political and artistic life for many years now, and "Waxing Moon" finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.
February 21 street date. Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled "Waxing Moon". While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as co-founder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon's political and artistic life for many years now, and "Waxing Moon" finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.
Please note new street date: December 11. Originally released in 2010, Four Tet's most celebrated album "There Is Love In You" is reissued on vinyl as a deluxe, limited edition 3xLP set that includes remixes by Caribou, Jon Hopkins, Floating Points, Joy Orbison, and Roska. This special expanded edition has been remastered for vinyl by Matt Colton at Metropolis Mastering.
Please note new street date: January 29 street date. The Lumineers co-founder, songwriter, and multi-instrumentalist Jeremiah Fraites' solo debut album "Piano Piano" will be release on January 22nd through Dualtone Records. A collection of songs that's been in the works for the better part of a decade, "Piano Piano" features gorgeous, intimate piano-centric instrumental songs capturing Fraites' reflective moments from his Denver home.
Please note new street date: January 29 street date. The Lumineers co-founder, songwriter, and multi-instrumentalist Jeremiah Fraites' solo debut album "Piano Piano" will be release on January 22nd through Dualtone Records. A collection of songs that's been in the works for the better part of a decade, "Piano Piano" features gorgeous, intimate piano-centric instrumental songs capturing Fraites' reflective moments from his Denver home.
January 8 street date. Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On "Introducing", his debut solo album produced by The Black Keys' Dan Auerbach, Aaron melds mid-60s soul with Auerbach's particular sensibilities ('Over You'), songs with a message in the key of Gil Scott-Heron ('Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop ('Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and co-lead singer of Durand Jones & The Indications, but he's more than a revivalist act. On "Introducing", Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. "Introducing" is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.
January 8 street date. Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On "Introducing", his debut solo album produced by The Black Keys' Dan Auerbach, Aaron melds mid-60s soul with Auerbach's particular sensibilities ('Over You'), songs with a message in the key of Gil Scott-Heron ('Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop ('Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and co-lead singer of Durand Jones & The Indications, but he's more than a revivalist act. On "Introducing", Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. "Introducing" is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.
August 21 street date. Beggars Arkive is excited to announce the remastered 40th anniversary reissue of the classic Freeez debut album "Southern Freeez" available as a coloured double LP (blue/black marbled). The package also includes "Variations On A Theem", which features six tracks by Freeez founding member and creator John Rocca. Alongside five new Rocca original songs is John's new version, with his vocals for the very first time, of the band’s 1981 UK Top Ten hit ‘Southern Freeez’. Freeez were a legendary group from London, known as one of the UK's main jazz-funk bands of the early 1980s - aka Brit funk. While they may not be a household name, if you know, you know. Freeez went on to be sampled many times, by artists including Jamie xx, Coolio, Brandy, Madlib, and more. "Southern Freeez" was initially released in late 1980 on John Rocca's own label Pink Rythm, but within weeks, they were signed by Beggars Banquet, who re-released it in 1981. The title track, which included guest vocals by Ingrid Mansfield Allman, was described as ‘The Ultimate Brit Funk tune!’ by Gilles Peterson.
March 13 street date. Since their 2013 self-titled debut, The Frights have embodied a carefree vulnerability, setting their most awkward and painful feelings to a wildly joyful surf-punk sound. On their fourth studio album Everything Seems Like Yesterday, the San Diego-based band twist that dynamic to deliver their most emotionally direct body of work to date: a collection of songs written and performed solely by frontman Mikey Carnevale, each track matching its stripped-back simplicity with both raw outpouring and intense reflection. Everything Seems Like Yesterday first took shape through a handful of songs Carnevale wrote on acoustic guitar back in fall 2018. “Hypochondriac was the first time I’d ever written that way, and it felt really therapeutic,” he says, referring to the band’s 2018 Epitaph debut. “It pushed me to get much more into the craft of songwriting—as opposed to mostly writing songs for people to mosh to—and it felt right to keep going with that on this record.” Carnevale originally intended to release this acoustic material as a solo album, but had a change of heart upon sharing his new songs at a series of shows in San Diego and L.A. “All the guys in the band came out and the response was pretty positive, so I started to think this might be something more than a bunch of songs to put online for free,” he says. Carnevale soon enlisted bassist Richard Dotson as a producer, and the two bandmates set off to record at Carnevale’s grandmother’s cabin in Idyllwild, California.
March 13 street date. Since their 2013 self-titled debut, The Frights have embodied a carefree vulnerability, setting their most awkward and painful feelings to a wildly joyful surf-punk sound. On their fourth studio album Everything Seems Like Yesterday, the San Diego-based band twist that dynamic to deliver their most emotionally direct body of work to date: a collection of songs written and performed solely by frontman Mikey Carnevale, each track matching its stripped-back simplicity with both raw outpouring and intense reflection. Everything Seems Like Yesterday first took shape through a handful of songs Carnevale wrote on acoustic guitar back in fall 2018. “Hypochondriac was the first time I’d ever written that way, and it felt really therapeutic,” he says, referring to the band’s 2018 Epitaph debut. “It pushed me to get much more into the craft of songwriting—as opposed to mostly writing songs for people to mosh to—and it felt right to keep going with that on this record.” Carnevale originally intended to release this acoustic material as a solo album, but had a change of heart upon sharing his new songs at a series of shows in San Diego and L.A. “All the guys in the band came out and the response was pretty positive, so I started to think this might be something more than a bunch of songs to put online for free,” he says. Carnevale soon enlisted bassist Richard Dotson as a producer, and the two bandmates set off to record at Carnevale’s grandmother’s cabin in Idyllwild, California.
March 5 street date. "The Pet Parade", the title track to Fruit Bats' newest album, might be a surprising opening track for longtime fans of Eric D. Johnson's beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, "The Pet Parade" emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on "The Pet Parade" were actually written before the pandemic, it's impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. At times upbeat and reassuring and at times quietly contemplative, "The Pet Parade" marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021.
March 5 street date. "The Pet Parade", the title track to Fruit Bats' newest album, might be a surprising opening track for longtime fans of Eric D. Johnson's beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, "The Pet Parade" emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on "The Pet Parade" were actually written before the pandemic, it's impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. At times upbeat and reassuring and at times quietly contemplative, "The Pet Parade" marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021.
Please note new street date: May 29. 10 year anniversary vinyl reissue of "The Empyrean" by John Frusciante, cut from the original analog tapes at Bernie Grundman's mastering. Frusciante is an American guitarist, singer, composer, and producer, best known as the guitarist of the rock band Red Hot Chili Peppers, with whom he recorded five albums. Originally released in January of 2009, "The Empyrean" contains contributions from RHCP bandmate Flea and former guitarist of The Smiths, Johnny Marr. Includes hi res audio download card.
December 18 street date. Funkadelic's first album, eponymously released in 1970, gets the HIQLP treatment to celebrate its 50th anniversary. Packaged in a thick card sleeve. 180g orange vinyl pressing. .
December 18 street date. Funkadelic's second album, originally released in 1970, gets the HIQLP treatment to celebrate its 50th anniversary. Packaged in a thick card sleeve. 180g blue vinyl pressing.
March 13 street date. THE GARDEN have been carving their own path since their formation in 2011. With 3 LP’s and 4 EP releases, they have become known musically for their fast, punk influenced jungle and DnB styles, and have consistently touring since 2013.While live, they are known for a mix of aggressive, unpredictable and trickster-ish tendencies - this new album, Kiss My Super Bowl Ring rivals the previous albums lyrically and sonically with an unmatched belligerence. The album is primarily self-produced, but includes tracks co-produced by the likes of Dylan Brady and Wharfwit, along with tracks featuring Ariel Pink and Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The album shows it’s first bit of skin with the opening track, “Clench To Stay Awake” - a track based off the experiences of both brothers mysterious health issues over the years. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo.
March 13 street date. THE GARDEN have been carving their own path since their formation in 2011. With 3 LP’s and 4 EP releases, they have become known musically for their fast, punk influenced jungle and DnB styles, and have consistently touring since 2013.While live, they are known for a mix of aggressive, unpredictable and trickster-ish tendencies - this new album, Kiss My Super Bowl Ring rivals the previous albums lyrically and sonically with an unmatched belligerence. The album is primarily self-produced, but includes tracks co-produced by the likes of Dylan Brady and Wharfwit, along with tracks featuring Ariel Pink and Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The album shows it’s first bit of skin with the opening track, “Clench To Stay Awake” - a track based off the experiences of both brothers mysterious health issues over the years. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo.
November 6 street date. Six years before the release of his landmark "Mother Earth's Plantasia" LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, "Didn't You Hear?". While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, "Didn't You Hear?" also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue "Didn't You Hear?" as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.
November 6 street date. Six years before the release of his landmark "Mother Earth's Plantasia" LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, "Didn't You Hear?". While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, "Didn't You Hear?" also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue "Didn't You Hear?" as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.
November 6 street date. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. Mort Garson's road to cool cultural caché and the sublimity of "Plantasia" meant a decades' long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at "Music From Patch Cord Productions", this set of queasy-listening. "Music From Patch Cord Productions" shows that Garson's knack was to exist in both worlds, super-commercial and waaay out. Via Garson,s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
November 6 street date. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. Mort Garson's road to cool cultural caché and the sublimity of "Plantasia" meant a decades' long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at "Music From Patch Cord Productions", this set of queasy-listening. "Music From Patch Cord Productions" shows that Garson's knack was to exist in both worlds, super-commercial and waaay out. Via Garson,s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
November 6 street date. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. Mort Garson's road to cool cultural caché and the sublimity of "Plantasia" meant a decades' long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at "Music From Patch Cord Productions", this set of queasy-listening. "Music From Patch Cord Productions" shows that Garson's knack was to exist in both worlds, super-commercial and waaay out. Via Garson,s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
October 2 street date. On Gabriel Garzón-Montano's new record, there are no outside producers. No ghostwriters.No gimmicks. No games. Nadie más. Just Gabriel. This will come as no surprise to those who've followed GGM since 2014's "Bishouné: Alma Del Huila", the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's "Jardin", melded classical and folkloric instruments with r&b, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. "Agüita", his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. "Agüita" stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness.
October 2 street date. On Gabriel Garzón-Montano's new record, there are no outside producers. No ghostwriters.No gimmicks. No games. Nadie más. Just Gabriel. This will come as no surprise to those who've followed GGM since 2014's "Bishouné: Alma Del Huila", the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's "Jardin", melded classical and folkloric instruments with r&b, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. "Agüita", his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. "Agüita" stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness.
October 2 street date. On Gabriel Garzón-Montano's new record, there are no outside producers. No ghostwriters.No gimmicks. No games. Nadie más. Just Gabriel. This will come as no surprise to those who've followed GGM since 2014's "Bishouné: Alma Del Huila", the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's "Jardin", melded classical and folkloric instruments with r&b, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. "Agüita", his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. "Agüita" stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness.
June 5 street date. Los Angeles based outfit The Ghost Inside are poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band were involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. One line in "Aftermath" sums it all up: "triumph over tragedy".
June 5 street date. Los Angeles based outfit The Ghost Inside are poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band were involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. One line in "Aftermath" sums it all up: "triumph over tragedy".
June 5 street date. Limited opaque magenta coloured vinyl edition, exclusively available to independent shops. Los Angeles based outfit The Ghost Inside are poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band were involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. One line in "Aftermath" sums it all up: "triumph over tragedy".
|
Digest 
Black Market Brass
