vinylindex

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just to be accepted, but that comes from a place of fear and judgment. I wrote these songs as a way of letting go of all that, as permission to feel good.”

Feel Good, Wyatt’s extraordinary new album, is more than just a permission slip, though: it’s an invitation. Recorded with Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and intuitive here, tapping into the deep recesses of her subconscious as she reckons with grief and growth, and her delivery is visceral to match, cutting straight to the bone with equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical act of creative liberation from an artist already known for pushing limits, a genre-defying work of healing and self-love that tips its cap to everything from Al Green and Otis Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and pleasure.

Celebrating the 15 Year Anniversary of The New Kids On The Block’s "The Block" with The Block Revisited, the original Boy Band collaborates with K-POP’s newest superstars to bring the Pop Event of 2023! “Dirty Dancing (Dem Jointz Remix)” unites the legendary pop icons together with JOSHUA, DK & DINO of SEVENTEEN with a fire remix by Grammy Award Winning Producer Dem Jointz.

Catch A Fire, the fifth studio album by Bob Marley & The Wailers, was included in Rolling Stone’s 500 Greatest Albums Of All Time. This 50th Anniversary Edition includes the studio album (LP1), Live at the Paris Theatre in London – previously only ever bootlegged (LP2), a bonus disc of alternate, extended and instrumental Jamaican tracks (LP3), plus a 12” single featuring 3 live tracks from the Sundown Theatre in Edmonton, with an etched image on the reverse side.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooky, and songs that move from concept to completion with a prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty.

Personally curated by Johnny Marr, Spirit Power encompasses songs from across four widely acclaimed UK top ten solo albums 2013’s The Messenger, 2014’s Playland, 2018’s Call The Comet, 2022 double album Fever Dreams Pts 1-4), non-album single releases ‘Armatopia’, ‘The Priest’ (w/ Maxine Peake), two brand new songs, plus a cover version of Depeche Mode’s‘ I Feel You’, released for Record Store Day 2015 and revealing the degree to which Marr has found his métier as a vocalist of singular expressive power.

“I know where Dan Treacy Lives”
And so do you if you live in Baltimore
You may try to look them up neé Barrett, neé Clark 
But just ask the Postman, they reside under the name
The Smashing Times.

Known poets about town, Filthy mother nature’s sons, 
Called out for Tea Cozies and old wrinkled clothes, 
But put on ‘oh so well’- with Jangle and Verve
“the night belongs to poets and madmen “
Drinking cups of hot tea after a dance alone in the rain
A Tom Courtney Movie plays in the background.
Oh so surreal.

Cold War Kids have announced their 10th studio album, Cold War Kids, which will arrive on November 3 via AWAL. The band’s singer and songwriter Nathan Willett describes: " This is our self-titled record. Everybody gets one. This felt like the right time because the sound of this record is the sound that makes Cold War kids unlike any other. I’m so proud of these songs. They took a long time to come together. The longing and struggle and joy I wanted to express are personal to me and I am so excited to share it with our fans who have come with us on the journey.”

The epic tale of Cold War Kids has long been informed by deeply personal songcraft, enthusiastic experimentation, and an avowed commitment towards forward motion. The band continues their ascent, becoming one of the biggest rock bands of their generation amassing more than half a billion streams, consistently churning out alternative radio hits, selling out tours and headlining festivals worldwide. 

The band just wrapped a North American tour supporting Tears For Fears and will be going on their own headline tour at the top of 2024 with dates to follow. 

Sum 41 celebrates 23 years with All The Good Sh** now available on vinyl for the first time! Originally released in 2009, this greatest hits compilation focuses on 14 hit singles from each of the band’s studio albums from 2001-2008.

Time Fades Away was the first live album released by Neil Young. He is backed on the album by The Stray Gators, the band who played on Harvest, and including the superb musicians Ben Keith, Jack Nitzsche, and Tim Drummond. David Crosby and Graham Nash are special guest musicians. The album followed the release of Young’s hugely successful album Harvest, and when it was released in 1973 it featured all previously unreleased songs. To commemorate the 50thanniversary of this album the track “The Last Trip To Tulsa” (originally released as a B-side to the 1973 single of “Time Fades Away”) has been added to the album. This limited-edition LP is pressed on clear vinyl.

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

Roe Kapara‘s debut vinyl release on Epitaph Record brings the songs from his wildly successful 2023 digital release, i hope hell isn’t real ep, together with his catalog of singles from 2021- 2022.

“Nobody was born cool” proclaims Roe Kapara. “Where’s the fun in that?” After relocating from Nashville to Los Angeles just before the pan- demic, the St. Louis-born singer/songwriter did what any reasonable 20-something would: find solace online and build a community. Soon, his burgeoning digital fanbase hit six digits, enthralled by his endearingly unpretentious personality but also by his irresistible music, a modern swirl of indie, psych, dream pop, and alternative.

Dwelling on the death of his own past is a common theme through Kapara’s music, throughout a catalog of DIY singles like “Everyone’s Dying” and “Past Grow” that helped boost his streaming listeners into the 2 Millions and TikTok audience over 350,000 (with 5.8 Million likes.) But just as he’s willing to expose vulnerable parts of himself in his songs, he’s quick to shine the mirror outward to address the creeping dread of modern life: consumerism, corporate greed, climate change, the general feelings of the younger generation in 21st-century America.

Combining these two sides of his musical personality – deeply relatable yet unafraid to stand up and ask life’s big questions – into pop songs makes for a musical journey that’s a little off-kilter, sure, but all the better and more interesting in the end. 

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

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

Mick Jenkins releases new single "Smoke Break-Dance" featuring JID, which arrives today alongside an Andre Muir-directed music video. Produced by Stoic, the song is the first taste of his forthcoming album The Patience that will arrive on November 10th via RBC Records/BMG. The Patience marks Jenkins' first full length release since 2021's Elephant in the Room.

Speaking about the album, Jenkins shares: 

The Patience: As best I can be, I am a person who does everything within his power to change his situation. I think with some level of consistency, that behavior inevitably leads you to a point where you have to wait. A point where the things that now need to happen to move you forward are no longer in your control. I see this as a period of time in one's journey, no matter the length, where the unseen things must take place; The muscles must tear and repair, the understanding of a concept coming to you in a moment completely devoid of artistic intention. It’s through these moments where I’ve found myself being the most frustrated with patience.

And this body of work sounds like that frustration.

The body of work reflects Jenkins' status as a young veteran in his craft. First breaking out with his 2014 mixtape The Water[s], he has established himself as one of the most dexterous contemporary lyricists over the course of 3 full length albums and 4 EPs since that mixtape's release. The Patience is the sound of an artist that is still young and at the full height of their artistic powers, wizened by the years spent grinding to reach this point, but eager to prove their continued vitality. The result is Jenkins' most urgent artistic statement since his breakthrough.

aespa presents their fourth mini-album, featuring the title track `Drama' with its powerful track loop and captivating hook. This album showcases aespa's vocal growth with a variety of genres including charismatic hip-hop, lovely bright dance music, and sweet acoustic pop. With this album, aespa brings a new chapter to their SMCU lore by writing stories on their own way through unique music and visuals - now breaking out from the trauma caused by a series of events with Season 1's `SYNK OUT' and `Hallucination Quest', and also the unknown anomalies in Season 2

Vinyl reissue of two of Isis' early EPs, packaged togeher in a 2LP set with new artwork

"LEFT" sees Helmet – comprising frontman Page Hamilton, drummer Kyle Stevenson, guitarist Dan Beeman, and bassist Dave Case – carve out a musical landscape that is taut, muscular, and direct. Hamilton’s lead guitar lines feel like everything from downed power lines arcing to exploding resistors in shortwave radios. On "LEFT" every snare crack hits like gunfire, every solo seemingly a manifestation of rabies-induced psychosis.

Guided by Hamilton alongside co-producers Jim Kaufman and Mark Renk, and mastered by Howie Weinberg, the 11 songs on the new album are leaner and meaner in their execution than previous aural throwdowns. "LEFT" is powered by unbridled determination, a renewed sense of purpose and a desire to create more new dialects within the musical language Hamilton invented via his use of drop-D tuning.

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. These four-disc LP and CD box sets include 12 and 16 page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York’s Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman’s own past, present and future.

This recording has never before been released or even bootlegged.  It captures the Jimi Hendrix Experience at a unique moment in their illustrious career.  Before a sold out audience of 17,000 people, the Experience overwhelmed an unsuspecting audience with a superb show that encompassed his renditions of songs by the Beatles, Bob Dylan, Howlin’ Wolf and Muddy Waters as well as signature songs such as “Purple Haze” and “The Wind Cries Mary”. Are You Experienced, the group’s debut album, had not yet been released by Jimi’s label Reprise. 

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads’ toes tapping. Music Is Victory Over Time is the band’s 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form.

The album’s beguiling title stems from a note scrawled in a book about electronic music donated to PITGOOSE Prisoner Books, the grassroots prison literature program run out of The P.I.T. (aka Property Is Theft - McHugh’s Anarchist community space, venue and info-shop located in Los Sures, Williamsburg). Scrawled as marginalia modifying a paragraph about durational minimalist composition, the concept illuminates music’s material and spiritual power to subdue the sensation of the passage of time, both as an experiential phenomenon and as a creative, communal and socio-political force. McHugh says: “The notion resonated with the our individual and communal experiences of loss, trauma, stasis and frustration since 2020, our three-year semi-silence as a band relative to our previous characteristic prolificacy, and our progress, projects and evolution since.”

Album opener World People is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler — a triumphant call to arms to all peoples. Live fave Too Gary’s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means “that’s too scary”). T.A.S.C. (or “Theme For Anarchist Sports Center”) is inspired by Sonny Sharrock’s maligned 80’s output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite “sitcom ending.” The sun- scorched Foams - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of Tumulus’ might reference an ancient burial mound, but the music itself might be the group’s most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. There Goes Ol’ Ooze is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. Song For The Gone closes out the album, showcasing a sincerely tender moment for the gang, written and recorded initially at McHugh’s home on Spanish guitar in 2020 (as an expression of love and resolve for dear friends who had recently, tragically died) its cascading, bluesy melody attuning itself to our own collective unconscious grief.

Having the distinct pleasure of being the first band to record in John Dwyer’s new LA-based recording studio Discount Mirrors (after Ohsees, who were literally loading out as the band loaded in), Music Is Victory Over Time boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. McHugh says “JPD would blast in and fuck with the board, interject ideas, tell stories, whip up a frenzy if we needed. We stayed in the adjacent room, lived on tacos and chocolate, overdubbed in sweatpants. All the right moves.” The band also had full access to the studio’s epic armory of gear: amps, axes (it’s Dwyer’s Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe.

The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown.

Listening to Music Is Victory Over Time, Sunwatcher’s rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It’s good to have them back.

JC Sanford follows up his two previous trio albums (Imminent Standards Vol. 1 & 2) with a decidedly different approach to the trio format. Featuring pianist Michael Cain and bassist Anthony Cox, New Past delves into Sanford’s diverse compositional style and improvisational approach. From collective improvisations to complex harmonic forms and grooves, the trio traverses a vast sonic and textural world of Sanford’s original compositions, with a smattering of interpretations of jazz standards.

The surprise companion to The National’s April release First Two Pages of Frankenstein, Laugh Track is the band’s most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Reveling in the license to radically upend its creative process, The National honed most of this material in live performances on tour, and captured those invigorated versions in impromptu sessions at producer Tucker Martine’s Portland studio. Two nights later in Vancouver, the nearly eight-minute album closer “Smoke Detector” was recorded during soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.

Limited edition on glacial blue vinyl. Iron & Wine's Who Can See Forever is an accompanying live record to the film of the same name. Captured at Haw River Ballroom in Saxapahaw, North Carolina, the soundtrack features nineteen songs from the twenty plus year career of singer-songwriter Sam Beam. Having found inventive ways to re-invent his catalog live over the years, Who Can See Forever offers new and fresh versions of Iron & Wine songs including "The Trapeze Swinger", "Boy With a Coin" and "Naked As We Came." The film - initially intended as a live concert film - evolved into a visual portrait capturing Beam during a creative outburst that earned him four Grammy nominations in four years. Like his music, the film touches on universally personal themes as Beam juggles being an artist, husband and father. Taken as one, the soundtrack and film are a fascinating first-time glimpse behind-the-scenes of Iron & Wine.

Global superstar Post Malone holds the record for most RIAA Diamond certified singles in history. The Diamond Collection is a compilation of his top hits to date, including “Congratulations (feat. Quavo),” “Sunflower” with Swae Lee, “White Iverson,” and more. The physical release includes the Diamond certified hits as well as additional tracks.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics. The result is the nihilism and icy darkness found in black metal melding perfectly with the pensive, ethereal nature of shoegaze and the expansive dramatics of post-rock to create a new landscape. By juxtaposing propulsive and harsh blast beats and riffs against soaring melody, Deafheaven had refocused the blind-hate nature found at the kernel of black metal into a melancholic and singular journey to explore the unknown. Considering metal’s staunchly negative relationship with the press, Deafheaven’s Sunbather was nothing less than a true triumph. An immediate success at the time of it’s release, Sunbather blasted through the glass ceiling that limited so many other heavy music bands before them. Lauded by virtually every major critical outlet, Sunbather is the picture perfect ideal of a music darling– leading to sold out shows around the globe in increasing numbers. Sunbather would eventually become a year end favorite, repeatedly named one of the best albums of 2013 and landing on top 10 lists that were previously alien to heavy music– outlets like Pitchfork, Rolling Stone, the New York Times and the like. And while the critics were dogpiling on the compliments, the conservative nature of heavy metal could not help but spin things in the opposite direction. As the saying goes, ‘the first one through the door catches all the bullets.’ “The easy answer was it was totally positive and overwhelming,” says founding guitarist Kerry McCoy with a bit of a chuckle when asked about his feelings about the response to Sunbather. “But in actuality it was also kind of frustrating. We were grateful for the positive notes, but there were people who thought we were the worst thing to ever happen to metal and others who thought that we claimed to invent the genre. Neither were true.” In addition to the game-changing musical approach, the band’s aesthetics were nothing if not utterly controversial as well. Designer Nick Steinhardt’s striking cover with use of a highly stylized font and a pale pink as the chosen color is not only a masterstroke in contemporary design, it was a true middle finger to the black metal establishment– one that prided itself on a lo-fi black and white aesthetic. The bright and easily recognizable cover openly positioned the album as a true outsider unafraid to duck genre boundaries. Formed in 2010 in San Francisco, California with the core duo of George Clarke and McCoy, the pair completed their debut demo with Jack Shirley, who would eventually helm Sunbather, releasing it on limited cassette. The cassette became an underground phenomenon, leading to a record deal with Deathwish Inc who released the cassette in limited numbers on seven-inch. After recruiting a live band, the five piece recorded their debut LP Roads to Judah and embarked on a series of shorter tours to promote the release. When the time came for the follow-up, the band slimmed back down to the original duo and added drummer Daniel Tracey– creating what many believe to be one of the most important musical statements of the ‘10s. The release would be their third with Jack Shirley. “Honestly, Sunbather gave us a career,” says McCoy with candor. “Before then we were working jobs and had these grandiose dreams, but that was the record that turned us into a real band. Because of that record, we ended up meeting a lot of people around the world that changed our lives and set us on the path we’re on now.” Ten years later, Deafheaven is nothing less than a mammoth and live touring juggernaut, with fans across the far reaches of the earth and a flawless live lineup of Shiv Mehra on guitar (joined in 2013) and Chris Johnson on bass (2017) in addition to Clarke, McCoy and Tracey. One of the most important and original rock bands of the past fifteen years, the long-awaited reissue of this pivotal release celebrates its tenth anniversary with a fresh shine and coat of paint– a newly remixed and remastered sound by original producer Jack Shirley with available spacial audio, an updated look to the packaging in all formats courtesy of the album’s original designer Nick Steinhardt, and deluxe color vinyl that includes a gatefold jacket with spot UV printing and 2 full-color printed inner sleeves. Whether a newbie to this colossal record or a familiar party, the anniversary edition is a crucial addition to the collection of any erudite music fan.

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl for the first time.

Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.

This double vinyl release comes pressed on two kaleidoscopic, multiversal orange and purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

As an upcoming member of the Rock & Roll Hall Of Fame class of 2023, Sheryl Crow releases a collection of songs that have been made available digitally on a limited-edition picture disc LP.

A deluxe box set celebrating Bob Dylan's 1978 world concert tour and the 45th anniversary of the artist's first concert appearances in Japan, The Complete Budokan 1978 includes two complete shows from Tokyo’s Nippon Budokan Hall (February 28 and March 1, 1978) featuring 58 tracks, 36 of which are previously unreleased. The audio is newly remixed from the original 24-channel analog tapes.

This luxurious 12 x 12” box is imported from Japan and includes 4 CD’s, a 60-page full-color photo book of liner notes and previously unpublished photos of Dylan on-stage and behind-the-scenes at the airport, press conferences and more and facsimile memorabilia such as concert tickets, pamphlets, posters, and flyers.

Another Budokan 1978 includes 16 specially selected tracks from the new Complete Budokan 1978 box set, newly mixed from the original 24-track analog tapes. All tracks are previously unreleased. This 2-LP set comes in a gatefold sleeve with an OBI-strip and a 4-panel insert with liner notes.

10th anniversary deluxe edition of Mac Miller's second studio album Watching Movies with the Sound Off on heavyweight galaxy vinyl. Includes a bonus 10" zoetrope picture disc with bonus track "The Star Room (OG Version)" and a never before released vinyl exclusive track "The Quest."

Busta Rhymes returns with his eleventh studio release executive produced by Pharrell Williams, Timbaland, Swizz, along with Busta himself.  The new album contains lead off singles “Beach Ball” featuring BIA, “Luxury Lifestyle” featuring Coi Leray, and “OK” featuring Young Thug along with a host of other features.

Legendary hip hop pioneer DJ Muggs and frequent David Lynch collaborator Dean Hurley join forces for the original score to the 2023 Sundance-premiering feature film Divinity. Equal parts sonically punishing and ethereal, the soundtrack delivers a unique punch that further intensifies the mind-bending, acid-trip experience of the film.

Divinity is a sci-fi dystopian odyssey produced by Steven Soderbergh and helmed by visionary director Eddie Alcazar. Set in the distant future, scientist Sterling Pierce dedicated his life to the quest for immortality, slowly making progress developing a serum named Divinity. Jaxxon Pierce, his son, now controls and profits from his father’s once benevolent dream. Society on their barren planet has been entirely perverted by the supremacy and pervasiveness of the drug. Two mysterious brothers arrive with a plan to abduct the mogul, and with the help of a woman named Nikita, they set on a trajectory hurtling toward true immortality.

Amidst the film’s extraordinary tapestry of stark aesthetics and themes, the score is a ten ton barbell of sonic weight. Crafted with 8-bit samplers, Wavestation synths, extended choir and string techniques, the soundtrack manages to swing wildly between the arenas of both music and sound design. Like all rich soundtracks, listening to the score on its own re-conjures the imagery of the film in the screen of the listener’s mind, an aural experience that manages to encapsulate and pulse a matched intensity of the film.

Tracks like ‘The Brothers’ and ‘Reflective Dreams’ cascade Vangelis-esque tones, painting with broad strokes of cinematic grandeur and ethereal wonder. ‘Main Titles’ and ‘InfinityTechno’ conversely swing hard into relentless, punishing sonics; with brutal, pulsing energy representative of the twisted, relentless pursuit of immortality. A standout of the album is undoubtedly “Divinity 2 Infinity: The Odyssey,” featuring cult hip-hop hero and lyrical-savant Kool Keith. Written for the film’s end credits, the track is a satisfying throwback to the 90’s original soundtrack cut bespoke-tailored to the film’s narrative themes.

DJ Muggs and Dean Hurley’s synergy yields a soundtrack that takes Divinity beyond the screen and into a multi-dimensional experience, inviting its listener along uncharted aural terrain for an unforgettable odyssey in sound.

Renowned musician and producer Joe Jackson unveils his latest artistic endeavour 'What A Racket!' – a new album reviving the songs of enigmatic early 20^th-century English Music Hall artist Max Champion.

Music Hall (along with its American cousin, Vaudeville) was the first form of mass entertainment created by the working classes. Its raw beginnings were in the pubs and streets of mid-19^th century London, and while never really considered ‘respectable’, it was, by 1900, performed in opulent theatres to huge audiences drawn from all walks of life. Prostitutes and princes alike sang along with superstar performers, many of whom are now legendary, and whose songs are still known in the UK.

Those songs, depicting everyday life in the Victorian and Edwardian eras, were most often humorous or satirical, though some were sentimental or patriotic, and others dealt with darker themes such as jealousy and murder. Many were also blatantly sexual, though always expressed in clever euphemisms and double entendres.

One of the most fascinating of the later Music Hall performers was Max Champion. Little is known about him, except that he was born in 1882 in London’s East End, and is thought to have been related to the great Victorian entertainer Harry Champion. As an up-and-coming performer he shared the stage with big stars such as Gus Ellen and Vesta Tilley, but his career (much like the Music Hall era itself) was cut short by the First World War, and his songs faded into obscurity. That is, until 2014, when Max Championsheet music started to surface: first in Malta, then in England, and, intriguingly, in Belgium, where Max probably met his end in the trenches. By 2019, enough songs had been recovered for Joe Jackson to resurrect them with a 12-piece orchestra.

'What A Racket!' presents eleven of Max Champion’s songs for the first time in more than a century. According to producer Joe Jackson, ‘These were wonderful songs in their time, but they’re surprisingly modern, too. Sometimes it’s almost as if Max is speaking, from his London of the early 20^th century, directly to us in the early 21^st.’

Members from The Offspring, Smash Mouth, The Mighty Mighty Bosstones, Street Dogs and The Briggs have united to form the new band THE DEFIANT! The members of The Defiant are no strangers to success as individuals but as a group their music stands for so much more on both a personal and professional level. Together the five members create a rock ’n’ roll pedigree that culminates into a riot of melodic punk. The Defiant will release their twelve-song debut album this October with touring to follow. The Defiant is: Pete Parada on drums (The Offspring), Greg Camp on guitar (Smash Mouth), Johnny Rioux on bass (Street Dogs), Joey LaRocca on guitar and keys (The Briggs) Dicky Barrett front and center (The Mighty Mighty Bosstones)

10th Anniversary Expanded Deluxe Edition of The Marshall Mathers LP2. It features 11 bonus tracks, including B- sides and instrumentals. Originally released on November 5, 2013, the album serves as a sequel to The Marshall Mathers LP released in 2000. It features the singles “Berzerk,” “Survival,” “Rap God,” “Headlights” and “The Monster,” which reached #1 on the Billboard Hot 100. The album won Eminem a record sixth GRAMMY Award for Best Rap Album and is now certified 4x platinum. 4 LP set on 180g black vinyl.

Multiple GRAMMY® Award-winning musician and composer, Dhani Harrison, has announced the release of INNERSTANDING, his first solo album in six years. The new album will be available as a 2LP Neon Yellow color vinyl edition on February 9^th, 2024, via H.O.T. Records/BMG.

“Here we are in a new world and here is the new album that has come forth from it.” Dhani Harrison on his new album, INNERSTANDING.

Last week Harrison released the first track from the album, “Damn That Frequency”, which features Blur’s Graham Coxon on saxophone.  In addition to his appearance on that track, Coxon also features on guitar on four other songs on INNERSTANDING. The album also features guest appearances from Liela Moss from The Duke Spirit and critically acclaimed Australian singer Mereki. The album was produced by Harrison and co-mixed with GRAMMY® Award-winning producer Paul Hicks (The Beatles, Joe Strummer, The Rolling Stones).

RSD Essential 052 -The Beach Boys’ iconic 1966 album, Pet Sounds, is universally hailed as one of popular music’s most important recordings of all time.  This very special pressing comes to you on Coke Bottle Clear vinyl. Pet Sounds is remastered in Stereo with faithfully replicated original artwork.

20th anniversary album of all new material, including a new original song, by globally renowned classical crossover group Il Divo. First album with new member Steven LaBrie, after the passing of founding member Carlos Marin in 2020.

Il Divo takes flight in 2024 with their 10th full-length album, “XX.” Once again, they leap forward creatively, expanding the style and vision all at once.

“The album really has a sound to it,” Sébastien goes on. “It’s exciting to hear where we’re going. It’s Il Divo, but it’s the next chapter.”

“There’s something magical about how we did the tour in 2022, became close friends, and are making music together,” Steven elaborates. “It’s incredible.”

A new dawn for Il Divo begins now.

“For me, music is more than entertainment,” says David. “It separates humans from the rest of the animal kingdom. The human voice is capable of things that everyone in an audience can vibrationally relate to. We have all been through sadness and happiness. Il Divo translates extreme emotions into a modern experience of humanity. This isn’t background music. We’re vibrationally mirroring how you might feel and enabling catharsis to happen. We want this to continue as long as we can. As long as we have breath and are able to do what we do at the level we do it, that's all we want. We want to create windows of transformation for anybody who's willing to listen.”

“Everything we do is for the audience,” Sebastien states. “Carlos will always be in our hearts. We’re sharing as many moments of joy as we can on stage. It’s a gift when what we do connects with anybody. For us, it’s not about receiving, but about giving and being of service to others. There’s nothing more powerful.”

“After losing a brother and living through so much over 20 years, Il Divo and our music are not a smidge tired,” Urs leaves off. “Il Divo has not lost any bit of its right to exist, with its potential and possibility to make beautiful, emotive, strong, and very high quality music. These are the most important things to me—Il Divo is here after 20 years, and Il Divo is here to stay.”

Rock juggernaut Futurebirds’ newest release – a 22-track live compilation titled …Thanks Y’all – is a benchmark that not only celebrates 14 years together, it’s also a testament to the sheer iron will of a group of musicians hungry for the fruits of its labor.

The Athens, Georgia-based group once again teamed up with storied My Morning Jacket guitarist/producer Carl Broemel for the latest chapter of a seamless, bountiful partnership that initially came to fruition with the 2021 EP, Bloomin’, and was followed up with the 2022 EP, Bloomin’ Too.

Recorded over 9 shows in February of 2023, the live compilation finds the “Carlbirds” firing on all cylinders, with the best highlights captured for posterity on …Thanks Y’all. The album delivers the sound and energy of the live concert experience, as though the listener were standing dead center in the raucous crowd.

Singer/guitarist Daniel Womack says, “We're long overdue for a live release and feel super lucky to have one of our mentors quarterbacking the project. Carl takes us to another level and I think the stoke translates well in these versions" Scheduled for a December 1st digital release, …Thanks Y’all will also be available as a 3-LP vinyl set on February 9, 2024.

Kali Malone’s anticipated new album “All Life Long” is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L’Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.

Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages.

Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.

All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony.

The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamban’s essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs.

This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

One of the leading lights in Europe’s experimental rock domain, The Pineapple Thief bring you their 14th album, It Leads to This, on February 9th 2024. The band features founding member Bruce Soord (guitar/vocals) plus Jon Sykes (bass/backing vocals), Gavin Harrison (drums/percussion) and Steve Kitch (keyboards). 

“The band was once described as a 'fucking nightmare' to be around, whilst we are lovely people we do embrace the chaos that comes with all of this so found it fitting to title our next album as such. The songs themselves mainly follow this theme but relate to all aspects of life. Lyrically, it is more of the same... no metaphorical meanings, no fantastical story telling, no pretentious bollocks.... Just tales of a life lived as it will always be.”

TANGK is, at its core, a love album. Open to anyone who requires something to shout out loud in order to fend off any encroaching sense of the void, now or forever. TANGK is a bona fide pop record in a way we’ve never heard from IDLES before, that is, something for everyone to pass around and share, communal anthems intended for overcoming our grievances. The word - pronounced “tank” with a whiff of the “g” - began as an onomatopoeic reference in-studio for the sound of a guitar tone, but has grown into a sigil for living in love. Joe sings on TANGK in a way we’ve never heard before, completing his transformation from post-punk firebrand into soul singing evangelist. TANGK was co-produced by Nigel Godrich, Kenny Beats, and IDLES guitarist Mark Bowen.

Hailed as "the reigning heavyweight champions of Southern rock" (No Depression), Atlanta-based quintet Blackberry Smoke is back with their 8th studio album, Be Right Here, produced by Dave Cobb. Be Right Here follows 2021's You Hear Georgia, which was the best-selling Country and Americana/Folk album in the country, entered at #7 on the Billboard Rock Albums chart and #4 on the Billboard Top Albums chart. Released to critical acclaim, No Depression praised the band for being “as much students of singer-songwriter-folk and outlaw country as they are of jam-based, chest-pumping rock,” ” while Guitar World declared "Many try to reproduce that holy grail, golden-era-of-classic-rock sound through their six-string escapades, yet only a handful ultimately succeed. One such band who succeeds in spades is Blackberry Smoke, whose most recent album You Hear Georgia serves up 10 tracks of pure rock ‘n’ roll bliss.”

In addition to Blackberry Smoke—Starr (vocals, guitar), Richard Turner (bass, vocals), Brit Turner (drums), Paul Jackson (guitar, vocals) and Brandon Still (keyboards)—the album also features background vocals from longtime collaborators The Black Bettys.

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic–the longest downtime in their history–they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies.

Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That’s why Omni called the album Souvenir: it’s a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems.

Take “Plastic Pyramid,” the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it’s a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener “Exacto,” a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as “Exacto, de facto, concise, quite right”–a line that could well be an Omni mantra.

The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos’s vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers.

You might notice that Frobos’ singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite–the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni’s songs, and this time, it comes in shades of both dark and light. In “Granite Kiss,” an “astronomical” love story concludes with the hope that “we can decay together,” while in “PG,” a romantic walk in the park includes a rose-colored mugging.

Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake–a set of songs that you’ll want to keep close, an aural memento you'll cherish for the rest of time.

"On RAT WARS, HEALTH, are not only making the heaviest, most genre-obliterating music of their career, they’re documenting just how insane it feels to be alive right now. It’s The Downward Spiral for people with at least two monitors and a vitamin D deficiency. “RAT WARS” is a definitive statement on the insanity and the insipidness of contemporary life. "

The Mess We Seem To Make is the eagerly anticipated debut album from Crawlers. Digging deeper into what fans already know and love about their eclectic alt-rock sound, it builds on the relationship of trust they have with producer Pete Robinson and engineer Tom Roach at Liverpool’s Coastal Studios and takes on a whole range of challenging topics; trauma, sexual politics, mental health, the general goings on in a young person’s life.

Blue Splatter LP features alternate cover art.

Legendary indie-rock band Grandaddy has announced a brand new studio album Blu Wav set for release February 16, 2024 via Dangerbird Records. A prolific storyteller, Jason Lytle is inspired by the overwhelming beauty of nature to the mundane moments that spark life’s strongest memories. Introducing pedal steel into the band’s repertoire for the first time, buoyant lead single “Watercooler” comments on the dichotomy of both. It was inspired by having his own outdoorsy rock guy (in both senses of the word) lifestyle while his partner had an office job. Lytle shares, “Most of my relationships have involved girls who worked in office settings. This song is about the end of one, or perhaps a few, of those relationships. Listeners will also notice the pedal steel on this track and eventually on many others from the forthcoming new album. It’s a first for Grandaddy, and I couldn't be more thrilled about this fact.” With the album title Blu Wav meant to be a literal mash-up of “bluegrass” and “new wave”, the new collection has a distinct feel, a uniform vibe, and a somewhat unexpected sound. It was conceived as Grandaddy maestro Jason Lytle was driving through the Nevada desert, and Patti Page’s "Tennessee Waltz" came across the classic country station on the radio. He was immediately intrigued by the possibilities of what it might sound like to keep the slow sway and sweet, simple lyrics of the bluegrass waltz while adding layers of dense synthesizers and the electronics of new wave. It incorporates the lo-fi lushness and sometimes-psychedelic orchestration Grandaddy is known for with Lytle’s first foray into true country. Seven of its 13 songs are waltzes, and as Lytle notes, “there’s an inordinate amount of pedal steel.” Grandaddy recently celebrated their legacy with a series of 20th anniversary reissues including the acclaimed Sumday Twunny box set which earned a Pitchfork ‘Best New Reissue”. Lytle also contributed vocals to a posthumous Sparklehorse album by request of his friend and fellow psychedelic pop auteur Mark Linkous’ family. Grandaddy has released five official LPs, most recently 2017’s Last Place. Grandaddy members include Jason Lytle, Aaron Burtch, Jim Fairchild, Tim Dryden, and the late Kevin Garcia, who passed away in 2017.

Written in the topsy-turvy days following two different breakups, San Fermin’s poignant new album, Arms, is a testament to the band’s ability to transform pain and isolation into catharsis and healing. The songs are more minimalist than ever before, stripping away much of the sonic ornamentation the Brooklyn eight-piece has come to be known for in favor of a more raw, direct sound reflective of the album’s candid, plainspoken lyrics. The result is a deeply moving, compassionate collection, one that moves from anger and disappointment to clarity and acceptance as it balances devastation and hope in equal measure. Founded in 2013, San Fermin rose to early acclaim on the strength of their self-titled debut, which bandleader Ellis Ludwig-Leone had initially envisioned as a one-off featuring more than 20 collaborators. NPR hailed the album as “one of the year's most surprising, ambitious, evocative and moving records,” while Pitchfork called breakout single “Sonsick” “deliriously infectious.” Buoyed by the record’s success, Ludwig-Leone put together a full-time band and hit the road, performing everywhere from the Tiny Desk to Lollapalooza and sharing bills with the likes of alt-J, Courtney Barnett, the National, and St. Vincent. In the years to come, the group would go on to release three similarly lauded albums, prompting The New Yorker to celebrate their “knack for simultaneously expressing beauty and crisis.”

If Talk Show’s exhilarating full-length debut, Effigy, feels more like a film than an album, that’s no coincidence. The band crafted the collection to soundtrack to a fictional nightclub. “One of the biggest influences on this record was the intro to the movie Blade, where this character’s being dragged through a meatpacking plant and into the vampire rave,” says frontman Harrison Swann. “There’s so much tension and anticipation and intimidation in that scene. We wanted to create the kind of music we’d play if we were performing in that club, to put ourselves into that scene and see how far we could push it.” With Effigy, Talk Show do more than just push their sound; they completely reinvent it. Produced by Remi Kabaka Jr., of Gorillaz, the record offers up a bold and exhilarating showcase for the band’s dramatic evolution, drawing on everything from The Chemical Brothers and The Prodigy to Nine Inch Nails and The KLF as it taps into a raw, primal sound at the intersection of techno, electronic, industrial, and rock music. The songs are dark and gritty, fueled by blistering guitars and explosive drums, and Swann’s vocals are nothing short of hypnotic, leaning on repetition and restraint to reach for transcendence in the midst of swirling sonic chaos. The result is an immersive, multi-sensory experience, one that conjures up a dark, sweaty warehouse packed with moving bodies all radiating heat and desire, anxiety and release, ecstasy and desperation. “When people talk about dance music, they often talk about escapism or freedom or drugs, but to me, that’s a really reductive view,” says Swann, a Manchester native. “I’ve been in some sketchy clubs where I’ve been scared shitless. We wanted this music to embody all of it.” Hailed as one of the UK’s most exciting new bands, Talk Show first came together in 2017, when Swann met bassist George Sullivan, drummer Chloe MacGregor, and guitarist Tom Holmes at Goldsmiths, University of London. A series of critically acclaimed singles and raucous live shows led to the band’s internationally lauded debut EP, These People, which arrived in March of 2020, just as the entire world shut down. By the time the pandemic had subsided enough for Talk Show to properly tour the collection, though, the group had already begun to move on creatively, trading in the brash post-punk of their early work for a ferocious, guitar-driven vision of dance music that would help earn them festival slots everywhere from Pitchfork Avant-Garde to Sonic Wave in addition to a four-star review from the NME for their 2022 follow-up EP, Touch The Ground. “The shift in sound wasn’t so much about changing who we were as it was about finding ourselves as a band,” Swann reflects. “It just felt like the most natural thing in the world to us, and we’re never going back.” The transition led the group’s writing process became inherently more collaborative, and when it came time to begin work on Effigy, MacGregor and Sullivan often found themselves laying the groundwork for songs, generating high-energy grooves for Swann and Holmes to build layers and textures over. The band created an imaginary club to help guide the sessions, too, naming it Effigy (something to be worshipped and despised at the same time) and visualizing every detail from the ground up. What would it look like? Where would it be located? How would it feel to wait in line? To walk through the doors? Once recording was complete, Talk Show teamed up with director Ashley Rommelrath to bring their visuals to life, designing gatefold artwork depicting the club as a physical place and shooting a series of videos set inside. “I’m reluctant to call it a concept album because these aren’t narrative songs,” Swann reflects. “I’ve never been the kind of writer to spell everything out. I’d always rather build a world and set an atmosphere and let you lose yourself inside of it.” Press play on Effigy and it won’t take long. Pulsating opener “Gold” sets the scene, with relentless drums and bruising, distorted guitars pumping like adrenaline through your veins as Swann implores you to “just feel it / just feel it” with escalating fervor. Like much of the album, it’s a song rooted in ambivalence and delivered with a snarl; there’s a sense of menace in Swann’s delivery, an uneasy feeling that things could turn dark at any moment. The taut “Oh! You’re! All! Mine!” flirts with disaster, while the breakneck “Red/White” spirals into oblivion, and addictive lead single “Closer” edges towards an ecstasy that seems perpetually out of reach. “We get closer and closer / closer and closer /closer and closer / over again,” Swann sings, repeating the passage a half dozen times with an increasingly manic intensity. “Utilizing that kind of repetition allows me to build a rhythm and raise the stakes and put new meaning into the line each time,” he explains. “Working with Remi really helped me harness how much nuance I could put into my phrasing, how much more powerful it could be to whisper than to shout.” Such nuance is ultimately at the core of Effigy, which rewards repeated listens with subtle shading hewn into its imposing walls of sound. Listen closely and you’ll hear hints of trip-hop, flashes of heavy metal, even touches of new wave and funk. The incendiary “Got Sold” tips its cap to the Beastie Boys; the entrancing “OIL” nods to Tricky. It’s album closer “Catalonia,” though, that takes the biggest chances, playing out like a pulse-pounding journey from room to room through the Effigy club as Swann delivers a mix of muted vocals and heavy breathing. “We wanted to take you from standing outside in the freezing cold straight into the heart of the sweatbox,” Swann explains, “straight into the warm glow of the club.” In typical Talk Show fashion, the ending is an ambiguous one. “Maybe we’re alone,” Swann sings on a loop, his voice disappearing into the ether as the beat forges inexorably on. Perhaps we’ve lost him in the crush of the crowd; perhaps his voice was in our head all along. Either way, there’s no going back.

Grief Chapter is an album with songs rooted in mortality, grief, and living fearlessly. Tracks like “Nobody Escapes,” “To My Heart,” and “Head Shrink” are sure to ignite their devoted legion of fans, and undeniable alt-rock anthems “Explode!,” “Days,” “Normalize” and “The Matrix” will sound at home on festival stages and amphitheaters they’ll be headlining in the US next summer.  The album was produced by Mother Mother frontman Ryan Guldemond, and mixed by the revered Rich Costey.

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” 

Voir Dire, the momentous album by Earl Sweatshirt and Alchemist, undoubtedly represents the long-awaited convergence of two rap titans. Earl's personal and intricately woven wordcraft, along with Alchemist's treasure trove of obscure, captivating samples, combine to create an artistic chemistry that permeates "Voir Dire" (which translates from French to "Speak Your Truth"). Earl accomplishes just that as he delves into the analysis of specific phases of his life, particularly in the past where his reflections resonate with immense potency, meticulous detail, and profound insight. The album features notable Los Angeles wordsmith Vince Staples on two tracks and esteemed rap artist, MIKE. On Voir Dire, unmatched lyricism and remarkable maturity take center stage, while personal experiences such as new fatherhood emerge and evolve over stripped-down, spacious Alchemist production — culminating in what many consider to be the best rap album of the year.

Adding to Chicago’s long lineage of forward-thinking indie rock, Friko transform each song into a moment of collective catharsis. On their full-length debut, vocalist/guitarist Niko Kapetan and drummer Bailey Minzenberger sustain the combustible energy of their break-out single Crimson To Chrome, merging elements of post-punk, chamber-pop and experimental rock, magnifying their music’s exhilarating power with a barrage of spirited ensemble vocals. Poetic, explosive, and sublimely raw in feeling.

Consider this your invitation to Café Molly, a lounge bar like they don’t make them anymore. The lights are low, the martinis are ice cold, the banquettes are velvet, and the stage is set for the electrifying talent of whistler Molly Lewis. After the exotica stylings of The Forgotten Edge EP and the tropicalia-indebted Mirage EP, Molly wanted to encapsulate the sound of Café Molly for her debut album On The Lips, a dreamy tribute to classic mood music, it conjures up misty visions of classic Hollywood jazz clubs, Italian cinema soundtracks and lingering embraces between lovers.

Recorded with producer Thomas Brenneck of the Menahan Street Band at his newly-built Diamond West Studios in Pasadena, and with something of an open door policy during the sessions, a stream of acclaimed musicians ended up across the album’s 10 tracks, including Nick Hakim, Latin Grammy-nominated Brazilian guitarist Rogê, Leland Whitty and Chester Hansen of Canadian instrumental group Badbadnotgood, Chicano soul group Thee Sacred Souls appear on the melancholy ‘Crushed Velvet’, experimental jazz pianist Marco Benevento and El Michels Affair’s Leon Michels.

With her intoxicating compositions, and wry brand of stagecraft (she might not be singing up there, but she can sure tell a joke) Molly Lewis looks set to join her heroes in the storied lore of the Los Angeles lounge scene and beyond. So pull up a chair, order your favorite drink, and prepare to fall for On The Lips.

Originally released in 2010, ‘4x4=12’ is the fifth studio album by Canadian electronic music producer & composer deadmau5. The Grammy-nominated album includes some of deadmau5’ biggest single hits, such as “Some Chords”, “Animal Rights” with Wolfgang Gartner, “Sofi Needs a Ladder” as well as “Raise Your Weapon” with Greta Svabo Bech. 

This album charted in the Top 100 Dance Albums charts across the U.S., Canada, U.K., Australia, & more, reaching RIAA Gold certification in the U.K.

Real Estate’s sixth full-length album Daniel was recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood.

Martin Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start.

Several days into recording, all five members of Real Estate were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely.

Offering fuzzy grunge-pop with doses of shimmering synths and emo angst, Ned Russin co-fronted Title Fight before halting in 2018 & Ned began playing music as Glitterer. Now a full band, Glitterer returns with Rationale combining 90s grunge, capital-R riffs a la The Stooges, & a keyboard lead that gives self-depre-cating melodrama., After relying more on synths for the entirely solo, home-recorded Glitterer LP in 2017, he involved collaborators on the crunchier Looking Through the Shades in 2019. This trend toward driving indie rock grit with ‘90s influences continued on 2021’s Life Is Not a Lesson and now Rationale.

I DONT KNOW HOW BUT THEY FOUND ME's second album, GLOOM DIVISION, is a glimpse into the mind of Dallon Weekes. Produced by Dave Fridmann (Tame Impala, MGMT), the album is the follow-up to iDKHOW’s Razzmatazz (ft. the #1 Alternative Radio single "Leave Me Alone"), & an EP ft. the gold record "Choke.” The most autobiographical work to date from Weekes (formerly of Panic! At The Disco), GLOOM DIVISION leaves listeners with the same sense of euphoric fascination that sparked the album’s creation.

"My first EP, June McDoom, was hugely inspired by the minimal sound of the 60s and 70s folk era. I wanted to reimagine a couple of those songs more stripped down as a follow up to that first EP. Judee Sill's songwriting and arrangements have impacted me deeply, and so I hoped to honor the music she made by recording a version of her song, “Emerald River Dance” – one of my favorite songs for many years and a song I still sing at most of my shows. The first time I heard “Black is the Color” was Tia Blake's version that she recorded in 1971, and then Nina Simone's performance inspired me to try and record a rendition of my own. While writing "On My Way" and "The City," I always imagined versions of those songs stripped down with three-part harmonies, which I was finally able to do here with dear friends, Cécile McLorin Salvant and Kate Davis, who have both been big inspirations to me throughout the years. One of my close friends, Sam Weissberg – who I met while studying in jazz school when I first moved to New York City – worked with me and arranged the harp and strings for each song. I produced the songs and tracked the remaining instruments and vocals with Evan Wright at our new studio in Greenpoint, Brooklyn that we share with our friend, Nick Hakim (who also provided backing vocals on “On My Way”)." 
- June McDoom

“I’ve been wanting to make a record like this for a long time. The band, Franny and I produced it ourselves in my living room with no adults present. It’s all acoustic, not an electric lick on the album…banjos and mandos and string basses and stripped-down drums. I put a ton of work into the tunes and I’m pretty proud of this batch. Had a little help from my old co-writing pal Jaida Dreyer on a couple, also wrote a good one with my screenwriter buddy, Brian Koppelman. Lots of gambling songs and lots of minor keys. And my band guys absolutely killed it too, they’re all badasses.

I’m dedicating the record to my old compadre, Ian Tyson, who passed away a few months back. I’ve named the album for him as well. ‘El Viejo’, or ‘the old one’ is what our mutual friend Tom Russell took to calling him in later years. The title track is a pretty special one for us.

We had a blast making this thing, and we hope you enjoy it too.” 

- Corb Lund 

The band’s long-awaited album, Moon Healer, is a vivid illustration of what happens when creativity, aggression, and volatility tangle for the first time in years. Like Sun Eater, Moon Healer is musically multifaceted, unabashedly brutal, and compellingly conceptual. The first single, “The Agony Seeping Storm,” is a mathematically mind-blowing hybrid of bludgeoning death metal specializing in unconventional riffing that echoes the resemblance of legendary experimentalists like Cynic, Atheist, and Gorguts. A newly refreshed and reinspired lineup--Davy, guitarists Tony Sannicandro and Al Glassman, bassist Nick Schendzielos, and drummer (since 2020) Navene Koperweis--seamlessly pick up the mantle where their previous album, Sun Eater, left off.

Traumatic Livelihood is the highly anticipated debut album from Jazmin Bean. The non-binary, London-based artist continues their evolution, by inviting listeners into their unparalleled universe of alternative, infectious pop. Traumatic Livelihood is emotionally laden, and explores themes of consent, addiction, and relationships. It pairs otherworldly visuals with music that represents the sound and spirit of Generation Z’s genderless subculture – unapologetic and impossible to define.

Hurray for the Riff Raff (aka Alynda Segarra, they/them) announces their new album, The Past Is Still Alive, due February 23, 2024 on Nonesuch Records. The record represents a new phase of beginning in Segarra’s lauded evolution as a storyteller. Created during a period filled with grief, when they found inspiration in radical poetry, railroad culture, outsider art, the work of writer Eileen Myles, and the history of activist groups like ACT UP and Gran Fury, discovering a stronger, singular style of writing that felt like a long-awaited revelation. In each song, lyrics serve as memory boxes for Segarra to process their trauma, identity and dreams for the future. Segarra uses their lyrics as a way to immortalize and say goodbye to those they have loved and lost, to illustrate the many shapes and patterns of time’s passing, and honor both the heartbroken and the hopeful parts of themselves. Though the record was made in North Carolina and produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee), the Bronx-born, New Orleans-based Segarra brings listeners to places far beyond, evoking vivid experiences of small shops and buffalo stampedes in Santa Fe, childhood road trips and Florida storms, struggles of addiction in the Lower East Side, days-long journeys to outrun the cops in Nebraska, and more. 

The followup to their acclaimed Nonesuch debut, Life on Earth—which landed on Best of 2022 lists from the New York Times, Rolling Stone, NPR Music, Mojo, Uncut, among others—The Past Is Still Alive sees Hurray for the Riff Raff reunite with Brad Cook, while further expanding their creative cast of collaborators. Anjimile, Conor Oberst and S.G. Goodman all join Alynda Segarra on vocals at various points throughout the LP, with a band of musicians including Cook, Libby Rodenbough, Matt Douglas, Meg Duffy of Hand Habits, Phil Cook, Yan Westerlund and Mike Mogis, who also mixed the album. 

The “nature punk” of Life on Earth marked a departure for Hurray for the Riff Raff, as they contemplated surviving and thriving amidst a world in crisis The Past Is Still Alive brings the focus back inwards. The arrangements are raw, the melodies direct and indelible, and the lyrics personal, yet largely rooted in family and community. There are love songs to real characters, locations and mythic figures like Sky Red Hawk (“Buffalo”), the first trans woman Segarra ever met (“Hawkmoon”), queerness and sacred spaces (“Colossus of Roads”), leaving home behind (“Snake Plant”), short-lived romances and the wisdom gained through chaos (“Vetiver”). Elsewhere, in the self-portraits painted on “Alibi,” “Ogallala” and other album highlights, Segarra reflects on the land they have traveled, the hardships witnessed and bravery gained while running away from everything and everyone they knew at age seventeen, hopping freight trains and hitchhiking across the country with a band of street urchins. 

In recent months, Hurray for the Riff Raff debuted a stage adaptation of their beloved 2017 album, The Navigator, based on their quest to reclaim their Puerto Rican identity. They also toured with Bright Eyes and First Aid Kit, performed for the Late Show with Stephen Colbert and NPR Music’s 15th Anniversary Concert, played festivals like Pitchfork and more. Next spring, they will bring the music of The Past Is Still Alive on the road, for a headline tour across the US, UK and EU, that they have partnered with PLUS1 so that $1 per ticket goes to supporting This Must Be the Place and their work to distribute Naloxone - the lifesaving medicine that reverses an overdose – at events across the nation.

It was January 2016, in the middle of New York City’s biggest blizzard on record, when the Nashville rock-country band Those Darlins found themselves stranded in Brooklyn, trying in vain to finish their farewell tour. The group had spent ten years touring and recording together; it was time for something new. As the snow blanketed the East Coast, turning entire cities into crisp white silence, frontwoman Jessi Zazu and drummer Linwood Regensburg thought about their own blank slate in front of them. They had a plan: Take a month off, get some much-needed rest after this grueling run of gigs, then get straight back to work on a new album. The blank page never stayed blank for Jessi Zazu for very long; she was always relentlessly doing, bursting with ideas, whether she was painting or writing, mentoring young musicians in her community or leading grassroots activism initiatives. There were more songs to be sung, more notes to be played, more issues to shine a light on.

But just as the pair were set to begin their next project, Zazu was diagnosed with cervical cancer, and the project was put on hold. When they returned to it in earnest that summer, after finding out that her cancer had spread, they believed that having a creative outlet again would help. “I don’t know if she felt the same way or not,” Regensburg says, “but watching this situation play out in my head, it was like I was equating it to some kind of hero journey. This person, who I believe to be invincible, overcomes a dire circumstance and the writing and recording of the music is all just part of the legendary comeback story. But that’s not what ended up happening, unfortunately.”

A year after that snowstorm, as winter stretched into the spring and summer of 2017, Zazu and Regensburg would work under the moniker Mama Zu in fits and spurts, getting as much done as they could any time she felt well enough. When the pair first began collaborating, they had come up with a process of collaboration in which Zazu would send Regensburg a recording of lyrics she had written—sometimes in fragments, sometimes as a core of what the song would be—and he would build a demo around it. After she got sick, they found that the process synced with her treatment schedule. Zazu could send Regensburg a voice memo on a Monday, do chemo on a Tuesday, and in the following days that it took for her to recover, Regensburg could build a demo to send to her for feedback, ping-ponging back and forth until they felt they had enough to finish the tracks in the studio. By late summer, the pair had recorded and mixed an album to near-completion. Tragically, though, final work on the album was halted after Zazu passed away that September at the age of 28. The unfinished album was put back on the shelf. “After she died, I didn’t want to touch it,” Regensburg says. “I didn’t want to play the songs or listen to the songs, let alone finish them. It just seemed like such a daunting task with a lot of layers—there was a lot of work left to do, but then there was also this exhausting underlying emotional component that pops in and hangs around the moment I’d open a session.”

Years passed. Distance grew. Healing began. By 2020, Regensburg felt ready to finish what they had started,  he says, “both for her sake and for my own sanity level. I was the only person left with this project.” Working on their songs again was therapeutic, even if doing so brought on a new set of challenges as he both polished nearly-finished tracks and rebuilt songs out of disparate parts, from the drum track on an older, alternate recording to a simple phone demo. “It was a way of spending time with her, and kind of the only capacity in which I could,” he said. “But then, I was also left with a lot of creative choices without her. Even though I had played most of the instruments, it had still been a totally collaborative thing; if there was a part I played that she didn’t like, she was clear about that. If someone’s gone, you can still talk to them, but you can only assume what their feedback might be. So I was stuck with a lot of musical choices that I’d be working under the context of, I hope you like what I did here.”

The resulting album, QUILT FLOOR, out February 23rd on Thirty Tigers, is bursting at the seams with life, ferocious and fierce. The glory of QUILT FLOOR is that there’s no note of sickness or sorrow to be found in it; where all of Zazu’s songwriting was personal, rather than turn inward, her gaze—even during her greatest battle—was fixed firmly on the world around her. Colored by the aftermath of a new era in America, a period in which many were both grieving and galvanized, Zazu’s songwriting has perhaps only grown more relevant as time has passed. Men who behaved badly are returning from their supposed exile. People have forgotten how to treat others with kindness; if we’re not the main characters of our own stories, we’re the background players of someone else’s content. It seems as if, at any given moment, part of the world is on fire. There’s plenty of fury to be had at the present, but what good is it without faith in the future’s potential for change? Rejoice! Our times are terrible, as the artist Jenny Holzer once proclaimed—an ethos Zazu had in spades.

After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings.

Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, inturns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings.

"As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepy- time's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now,with a new full-length record that integratesthe past and the future?"

Laetitia issues a call to the traumatized civilizations of Earth: we’re urged to finally evolve past our countless millennia of suffering and alienation. Her songs score the complexities and harmonies within this directive: organ, guitar, bass, synth, trombone, vibraphone, live and programmed drums, and a vocal assembly of men and women billed as The Choir, working intricate chord/tempo/and dynamic changes, as Laetitia’s empathic presence leads the way.

Peace Okezie, the brainchild behind Master Peace, does not mince his words. He needs to get things out and embodies the phrase, “If you’re going to say it, just say it.” While never careless or unsympathetic with his words, the phrase is an affirmation that fuels him.

Lucky for us, his energy is on par with the idiosyncratic, effervescent and most importantly, extremely good music he makes with intention and a keen ear. Master Peace’s music is about inviting people into the weird, wonderful and cacophonous world he’s created. Attracting listeners who crave rebelliousness and divergence from the norm.

Master Peace’s debut album How To Make A Master Peace, pushes the parameters of genre more than ever. Peace flexes his inspirations by cutting through the sonic generations of British music that have raised him. ‘I Might Be Fake’ has the urgency of 2005’s ‘Giddy Stratospheres’ by the Long Blondes, mixed with the spaciness of the late noughties Klaxons catalogue. ‘Shangaladang’ is an ode to Peace's black music inspirations, with a nod to Skepta; here he adapts the lyrics ‘I’ve got my hood mates and white niggas” from the rapper’s 2016 song ‘Man’ to fit his more rugged, The Clash-like tune.

The raucous artist has been hailed as the new voice of British Indie and was a “One To Watch” nominee at the 2023 AIM Awards. The 11 track album is a pastiche of the alternative music the British artist was raised on, from Arctic Monkeys & Friendly Fires to Gorillaz. His headline tour, culminating at the iconic Scala, will see Master Peace create his own legacy in British Indie music, and this album is a statement of intent.

Mannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. “There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ,” says Dabice. “The ethos of this band has always been to bring people together.”

Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band’s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.

Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band’s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home. “Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be,” says Regisford.

In another world, society has built an immense mountain. To make the mountain bigger, they must make the hole they live in deeper and deeper. All of society is built around the creation of the mountain, and a mountain religion dominates all thought. At the top of the mountain is rumoured to be a huge mirror that reflects endlessly recurring images of the self, and at the bottom of the pit is a giant golden snake that is the primal fear of all believers. A “Mountainhead” is one who believes the mountain must grow no matter the cost, and no matter how terrible it is to dwell in the great pit

Throughout the past 4 years since our last studio album, we’ve seen a huge shift in our careers and what honestly has felt like a powerful movement in the weather. It has felt like a “Norther” storm-front that we’ve been trying to hold on through. As a band, it took right around 10 years of heavy touring throughout the U.S. before we caught any kind of large ‘break’; and our hope is that these 13 tracks are a perfect culmination of what makes up our unique sound. The entire album was recorded over the course of about 8 months, with only 2-3 day gaps to record at a time, in between shows and travel. We hope the sound is large enough to blur genres, while staying completely genuine to the sounds that our earliest fans keep coming back for. From honest, singer-songwriter ballads, to powerful folk and Celtic-rock instrumentation; we hope there is something here that resonates with everyone. We are Shane Smith & The Saints from Austin, TX and this is our brand new album, “Norther”.

With his new album Y’Y (pronounced “eey-eh, eey-eh”), Amaro Freitas steps into a new realm of musical creation. A realm rooted in magic and possibility, and tempered by a sense of stewardship for the earth’s bounties.

Side A serves as an expression of connection to the earth and to the ancestors, paying homage to the forest and the rivers of Northern Brazil with both the music and the album title, Y’Y,  a word written in the Sateré Mawé dialect, an ancestral indigenous code that means water or river.  And by bringing to life lessons he learned in the Amazon about the incandescent power of enchanted spirits who intervene on behalf of the community in times of struggle.

On Side B, Y’Y shows the connections between the global Black avant-jazz community. Bringing together multi-instrumentalist Shabaka Hutchings, harpist Brandee Younger, bassist Aniel Someillan, guitarist Jeff Parker and drummer Hamid Drake, the music creates an artful conversation by weaving together jazz traditions from across the world, while staying rooted in the unique sounds and rituals found in Afro-Brazilian and Indigenous cultures.

Freitas continues to intwine ancestral knowledge into music on Y’Y by bringing his fresh, “decolonized” interpretation of Brazilian jazz and sharing music that may well shatter our preconceived notions of what jazz can be.

Playing Favorites is Sheer Mag’s third full-length and first with Third Man Records, the band capitalize on a decade’s worth of devotion to their own collective spirit—a spirit refined in both the sweaty trenches of punk warehouses and the larger-than-life glamour of concert halls—emerging with a dense work of gripping emotions, massive hooks, and masterfully constructed power-pop anthems. This is the record the Philadelphian rock and roll four-piece has always been destined to make. 

Lang Lang presents with this album a treasure trove of musical discoveries. Saint-Saëns’s Piano Concerto No. 2 was recorded with a stellar cast, the Gewandhausorchester and Andris Nelsons and is for Lang Lang a true romantic masterpiece that rivals the greats like Rachmaninoff or Tchaikovsky.

New Years Day is a female fronted hard rock and metal band from California. A feminine powerhouse with the intriguing dark image, they have over 50 million music video YouTube plays and over 1 million combined devoted and engaged followers. New Years Day have been playing for crowds of 10,000 plus people all over the world for the past 5 years. They have played some of the biggest stages in history, including WrestleMania 2021 in front of 75,000 people and millions more on national TV.

The Kitchen Dwellers invite you to join them on an extraordinary journey with their highly anticipated 4th studio album, Seven Devils. Produced by Grammy winner Glenn Brown (Billy Strings, Greensky Bluegrass), the ascending Montana quartet continues to redefine the boundaries of bluegrass, folk, and rock.

Inspired by Dante's epic voyage through the Nine Circles of Hell, the album guides the listener through a similar exploration. Each track represents one of the Seven Deadly Sins, while others draw inspiration from "The Divine Comedy," serving as checkpoints on this musical descent into the abyss. The Dwellers invite the listener to treat this experience as a musical journey inward - to the self.

Guitarist Max Davies emphasizes that Seven Devils is the band's most collaborative work yet. "Each song contains a piece from everyone in the band. Every tune on the record holds musical ideas from each one of us. For this reason, we think it sounds the most like us that any record has.”

With Seven Devils, Kitchen Dwellers continue their musical evolution, presenting their most mature and intricate work to date.

Albert Hammond is one of the most prolific, versatile songwriters and performers of his or any generation. His earliest solo hits include “It Never Rains in Southern California” and “The Free Electric Band.” His contributions to popular music (writing and and/or contributing to hit songs by Tina Turner, Whitney Houston, Willie Nelson and Julio Iglesias, Diana Ross, Starship, The Hollies, Joe Cocker, Johnny Cash, Aretha Franklin) across genres and generations.

Albert’s most recent releases include “ “Legend II,” and “In Symphony," all celebrations of his storied songbook with new interpretations of his most emblematic compositions… “The Air That I Breathe,” “One Moment in Time,” “Nothing’s Gonna Stop Us Now,” and “When I Need You” (amongst many others).

Body of Work is an all new, original, and essential addition to this iconic canon.

Written during a time of tumultuous change, Body of Work is the moment a master songsmith takes a step back to reflect on the world:

"This is the first step I had to take and the album is what I discovered about me and all of us once I started here says Albert. I can feel the discomfort and impatience in it. That’s just the honest feeling when the world changes for you from Oasis to desert, from beauty to chaos… freedom to fences."

From gutsy opener “Don’t Bother Me Babe” through the wistful “Looking Back” and closing with the reflective “Goodbye LA,” Body of Work is an album for the ages, crafted with 50 years of words, experience, and wisdom.

Following acclaimed Topical Dancer album with Charlotte Adigéry, here comes Letter To Yu, Bolis Pupul’s debut solo album, produced by fellow Belgians, Soulwax. It’s no coincidence that Bolis Pupul’s music sounds the way it does. Born in Belgium to a Chinese mother and Belgian father and raised in Ghent, Bolis’ electronica is a joyous cross-cultural assemblage. The creation of the album is built around Bolis’ trip to Hong Kong earlier this year, made to reconnect with his mother’s roots.

Marking 40 years of The Jesus And Mary Chain, ‘Glasgow Eyes’ was recorded at Mogwai’s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017’s ‘Damage and Joy’, becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK’s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. Jim Reid says, “But don’t expect ‘the Mary Chain goes jazz.’ People should expect a Jesus and Mary Chain record, and that’s certainly what ‘Glasgow Eyes’ is. Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes. And there’s a telepathy there - we are those weird not-quite twins that finish each other’s sentences.” ‘Glasgow Eyes’ not only extends The Jesus and Mary Chain's story, but feels simultaneously like a return to roots. From the incendiary ‘Psychocandy’ debut and its classic ‘Just Like Honey’ onwards, the Reid brothers steadily became the misfits who made good without compromise.

Northern Norwegian indie-folk duo acclaimed by Pitchfork, FADER, Stereogum and more returns with their 2nd LP. Captivating, intimate and full of vivid moments from life in the rural arctic the LP sees Konradsen reaching new creative heights. After moving back to their respective small villages their music takes on new depths in themes of raising families, returning to your rural roots and grappling with the expectations vs. realities of life.

Timeless. Explosive. Romantic. Inspiring. How else to characterize Blue Electric Light, Lenny Kravitz’s 12th studio album? Kravitz’s mastery of deep-soul rock ‘n roll is a long-established fact. As a relentless creative force—musician, writer, producer, actor, author, designer—he continues to be a global dynamic presence throughout music, art and culture. Blue Electric Light is an impassioned suite of songs, that broadens this distinction and is the latest contribution of a man whose music—not to mention his singular style—continues to inspire millions the world over. On the album, Kravitz's talents as a writer, producer and multi-instrumentalist resonate as he wrote and played most of the instruments himself, with longtime guitarist Craig Ross. Lenny Kravitz has won four GRAMMY® Awards and sold 40 million worldwide. He was recently recognized by the CFDA with their “Fashion Icon Award” and was also selected as a 2023 Hollywood Walk of Fame inductee.

Originally released in 2012, ‘> album title goes here <’ is the sixth studio album by Canadian electronic music producer & composer deadmau5. The 13-track album features a handful of deadmau5’ biggest hits, including but not limited to: “The Veldt” with Chris James, “Professional Griefers” with Gerard Way of My Chemical Romance, “Channel 42” with Wolfgang Gartner, “Telemiscommunications” with Imogen  Heap, & more…

This album has reached peaks of success all over the world, with hitting #1 on Billboard’s U.S. Top Dance/Electronic Albums chart as well as the U.K. Dance Albums charts in 2012; ‘> album title goes here <’ also reached RIAA Gold certification, with over 40,000 units sold in Canada. 

Available for the first time ever on vinyl, this is ‘> album title goes here <’...

First compiled as a double CD in 2002, Moon’s Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.

Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").

Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung neofolk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant” to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance’s oft-quoted couplet: "Pay your respects to the vultures / For they are your future."

The album’s final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall’s doomed, beautiful voice.

The DAIS box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus Maclise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation – both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.