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Music Releases 04-19-24

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Taylor Swift - "THE TORTURED POETS DEPARTMENT" [Ghosted White 2 LP] - Taylor Swift/Republic Records; Pop EXPLICIT
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Pearl Jam

Dark Matter [LP]

Vinyl: $39.98 Buy


Rock & Roll Hall Of Fame inductees, Pearl Jam, return with their highly anticipated new album Dark Matter. The band’s 12th studio album was produced by Grammy® Award Winning Producer, Andrew Watt. 

New Vinyl: $39.98 Video
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Ti Amo

Vinyl: $24.98 PREORDER

New Vinyl: $24.98
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Best Of Bruce Springsteen is a collection of original songs spanning his storied 50-year recording career, from 1973's Greeting from Asbury Park, NJ to 2020's Letter To You. It will be available as an 18-track set. The collection will span early-career favorites like "Growin' Up" and "Rosalita (Come Out Tonight)," staples of Springsteen's live shows from "Dancing In The Dark" to "The Rising," best-selling breakouts like "Born To Run" and "Hungry Heart," as well as recent releases "Hello Sunshine" and "Letter To You." Here, these career-spanning works appear together in one set for the first time. The packaging includes archival photos and a new essay.

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Luther [LP]

Vinyl: $27.98 Buy

Originally released on Cotillion Records, this seminal record is being made available commercially for the first time in over forty years in CD, Digital, and Vinyl formats.

June 1976 saw the introduction of Luther, Luther Vandross’ss debut album, marking a significant milestone in the R&B genre. This album not only showcased Vandross’s unparalleled vocal prowess but also highlighted his talents as a songwriter and producer. Among its hits, "Funky Music (Is A Part Of Me)" gained particular fame when it was reimagined by Vandross and David Bowie, emerging as "Fascination" on Bowie’s legendary 1975 album Young Americans, where Vandross also contributed to background vocals and arrangements. Luther also includes the track “Everybody Rejoice (A Brand New Day),” a key song in the 1975 Tony Award-winning Best Musical "The Wiz" and its 1978 film adaptation. This re-release offers the only available recording of Vandross's unique performance of this iconic song.

New Vinyl: $27.98
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Based on the 2018 Broadway musical adaptation of the 2004 film, the MEAN GIRLS soundtrack features songs from a number of the movie’s stars including Reneé Rapp as Regina George, Angourie Rice as Cady Heron, Auli’i Cravalho as Janis ‘Imi’ike, Avantika as Karen Shetty, and more. Also featuring the single “Not My Fault” by Reneé Rapp with rap superstar Megan Thee Stallion.

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The Melvins new album is like nothing the band has ever done before. Probably the best record they’ve ever recorded. Certainly one of their weirdest. The five song album centers around the mammoth 19-minute opening track “Pain Equals Funny” and features Buzz, Dale and Steven along with second drummer Roy Mayorga (Ministry, Soulfly, Stone Sour and Nausea) and guitarist Gary Chester (We Are The Asteroid). Vinyl comes in a Gatefold Jacket with 12pg booklet.

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In 2024, Mountain Stage will release Live on Mountain Stage: Outlaws & Outliers via Oh Boy Records compiling some highlights from the program, curated by the show’s co-founder and longtime host Larry Groce.  With four decades worth of recordings in its archives, many documenting artists in their formative years, this is bound to be an essential release. "I’ve had the privilege of listening to some of these tracks and they’re just jaw-droppingly gorgeous" says Groce.  Net profits from the album’s release will benefit the program.

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In a society defined by our greatest and worst moments, out of chaos comes Letters from a Black Widow – a definitive statement of perseverance and liberation from Grammy-winning singer/songwriter and multi-instrumentalist Judith Hill. The album’s 12 songs masterfully reveal themes she’d explored only in therapy and nightmares. Stories of resistance, hard-won clarity and redemption are delivered through an unshakable soul, funk and blues foundation that resonates with a defiant, beautiful power.

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Windchimes, the NEW RECORD from Texan singer/songwriter Thomas Csorba revolves around the slow, at home nature of starting a family. It’s a season of finding balance. Balancing the hope Csorba has for tomorrow while still being grateful for what he has today. Balancing the anticipation for what’s to come and the importance of embracing the present moment (no matter how difficult or uncomfortable).
“This record portrays the tension between contentment in the things of today and the hope for a better tomorrow all through the lens of slow family life. Through these songs, I’m learning to embrace who I am and where I am while still taking risks, growing, and working towards growth.” Csorba says of the upcoming album.

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“I’m not afraid of the uncomfortable,” says Stephanie Lambring. “Oddly enough, I think you can actually find a lot of comfort in exploring it, in facing it head on and seeing it for what it really is.”

It’s that paradox that lies at the heart of Lambring’s stunning new record, Hypocrite. Recorded in Nashville with producer Teddy Morgan (Carl Broemel, Elise Davis), the collection is a remarkable work of self-reflection from an artist determined to know her truest self (and to help us find our own true selves in the process). The arrangements are lush and hypnotic here, with Lambring’s breathy vocals floating atop a sea of dreamy synthesizers and shimmering guitars, and the writing is as raw and vulnerable as it gets, confronting everything from religion and trauma to body image and motherhood with unflinching honesty. The result is a record that lands somewhere between Phoebe Bridgers and Alanis Morrissette as it looks for the best by reckoning with the worst, an album full of love and grace and compassion that aims to remind us that imperfection and humanity go hand in hand.

“They say the things you dislike about yourself are the things you call out the most in other people,” Lambring explains, “and with this album, I wanted to see what would happen if I called myself out instead. I think there’d be a lot more harmony in the world if we could just own up to our own shortcomings and forgive ourselves in the process.”

Such deep and thoughtful reflection has been a hallmark of Lambring’s work from the very beginning. Born and raised in Indiana, she got her start in Nashville working as a songwriter on Music Row, but after five years of composing for other artists, she asked to be let go from her publishing deal and walked away from the music business entirely. Feeling adrift creatively, she picked up work waiting tables at a restaurant and quit writing for an entire year until a regular customer—legendary songwriter Tom Douglas—encouraged her to return to her craft, this time for herself.

“It felt like my creativity had been rehabbed during that time away from the music industry,” Lambring recalls. “Writing for myself allowed me to say what I wanted to say, to sing about what felt important to me, and that changed everything.”

Lambring’s 2020 debut, Autonomy, was a critical smash, prompting Rolling Stone to hail her “John Prine-esque observation” and NPR to declare her “one of Nashville’s most fearless young singer-songwriters.” In addition to all the rave reviews, the album also landed Lambring on the cover of Tidal’s Rising Folk playlist, helped earn performances everywhere from Mountain Stage to the famed Bluebird Cafe, and led to an extensive US tour with Amigo The Devil. All the while, songs for Lambring’s much-anticipated follow-up were already brewing.

“I knew I wanted to write some of these songs for years before I was actually able to put them into words,” she explains. “They were just these little seeds planted in my subconscious that I’d keep coming back to until I felt like I’d finally experienced enough life to sit down and express them.”

The recording process was a similarly slow and deliberate one, with Lambring and Morgan working together on the songs on-and-off over the course of an entire year, experimenting with unexpected instrumentation and blurring the boundaries between roots music and indie rock.

“The foundation of this record is really just the two of us seeing how far we could push the songs,” Lambring says. “We’d get together and lay down the bones of a track, and then we’d come back to it a few weeks later and see how else we might be able to approach the same idea in order to take it someplace new and exciting. We would keep bouncing from one song to another, just tweaking and overdubbing and reinventing things right up until the very end.”

That adventurous spirit is clear from the top on Hypocrite, which opens with the brooding “Cover Girl.” Fueled by a thick, sinuous synth-bass and perpetually unsettled drumbeat, the track grapples with the modern pressures of a social media-driven world in which dysmorphia runs rampant and projection outweighs authenticity. “She writes, ‘Beauty’s on the inside’ / Underneath a picture of her good side,” Lambring sings with a deadpan delivery. “She watches on standby / As we tell her she’s pretty.” But rather than treat the observation as a scathing indictment, Lambring instead turns the lens on herself and her own implication in perpetuating the status quo despite her best efforts to break free of it. “Cover girl for inner beauty / Shine it up and sell it to me / We don’t have to believe it, do we? / Do we? / Do we?” It’s a question that sounds less convincing every time she asks it, the uncertainty building with each repetition. The tender “Filler” wonders who we’re really trying to please when we change our appearance (and if it will ever be enough), while the driving “Purity Ring” interrogates sex and shame and abstinence and abortion in the face of a strict religious upbringing full of double standards, and the aching “Good Mother” questions the traditional narratives of parenthood, giving voice to the fears and regrets that society deems too taboo to say out loud. “They say it’s the hardest / Best thing they’ve ever done,” Lambring sings wistfully. “But if it’s just the hardest / You can’t tell anyone.”

“I never felt a pull towards motherhood,” she explains. “I felt a lot of pressure about it, though, so I leaned into my anxiety and started researching. I dove deep on Reddit threads. I listened to podcasts. I read Regretting Motherhood: A Study by Orna Donath. There were so many heartbreaking accounts from mothers who loved their children but would be childfree if they had it to do over again, and I had a gut feeling that I would be one of those mothers. I wrote this song to process and sit with my own fears about it all, and to offer a voice for mothers who feel that way, either as a constant ache or in moments or seasons of exhaustion.”

Lambring finds unique ways to blend the deeply personal with the universal throughout the record, often transforming intimate slices of life into thought-provoking reflections on the human condition at large. The devastating “Hospital Parking” spins a garage fee into a meditation on grief and love and hope and loss; the unrelenting “Mirror” shines a light on the ugliness we try to hide, wrestling with the ways our desire to label things as “good” or “bad” without any room for nuance can spill out into politics and culture wars; and the country-tinged “Two-Faced” takes a self-deprecating look at insincerity, with Lambring singing, “We’re all a little two-faced / ‘Hey, how are you?’ fake / Makes the world go ‘round / God forbid some honesty would ruffle up this town.”

“I’ve lived in the south for 18 years, and when you pair that with a tendency to people-please, I haven’t always been the most direct (or enjoyed people being direct with me),” Lambring confesses. “Over the past several years, I’ve appreciated and practiced directness more and more, but it’ll probably always be something of a struggle for me, so it was therapeutic to poke some fun at myself and my fragile ego.”

In the end, such therapy is what Hypocrite is all about. The songs are serious, even painful at times, but they’re laced with humor and ultimately built to heal. Stephanie Lambring isn’t afraid to face the uncomfortable, and in the process, she offers up more than a little comfort for the rest of us.

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Limited edition crystal clear 2-LP, 180g set of the classic album featuring UV artwork printing on the non-groove side. This set will feature the prism spectrum seen through the playable side of the vinyl while maintaining the best quality sound that fans expect. This 50th anniversary collector’s edition is housed in gatefold sleeve with slipcase and an exclusive poster.

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My goal with this record was to make a set of very refined and pretty songs. I mostly tempered my natural tendency toward dissonant sounds, kept the melodies very simple and repetitive, and spent a lot more time than usual reworking the music and lyrics. Normally I'll write something quick and just go with the first version, but I took more time really thinking about these arrangements and structures. The result is a record that I think is a really cool headphone listen, and with Sarah Tudzin's take on the mixing it locks into a vibe and tone that is almost relaxing at times, something very new for us. All of our records are pretty different from each other but this might be the biggest change in awhile, and I think it makes an interesting jumping off point for wherever we go next. Even just the last minute or so of 'Mouse Policy' could be a starting point for a whole new record on it's own, and there are lots of other small moments on this album like that.
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The British guitarist, singer and songwriter Billy Morrison – primarily known as Billy Idol’s rhythm guitar player for the past 15 years alongside lead guitarist Steve Stevens, and for his previous role as bassist in The Cult – has assembled an electrifying 12 songs on his new album, The Morrison Project. Featuring guest performances by Ozzy Osbourne, Billy Idol, DMC, Al Jourgensen, Steve Vai, Steve Stevens, Linda Perry, Tommy Clufetos, John 5 and more.

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Yunchan Lim is the one of the most talked-about classical artists on the planet. In 2024 he presents his debut studio album on Decca Classics – the Chopin Études, Op.10 & Op.25. “To me, Chopin is a composer who yearned for the past. I wanted the album cover to feel like solitude and nostalgia, and to look like you have come across an old photo.” – Yunchan Lim

New CD: $13.95
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Recorded in Oslo in September 1970, Afric Pepperbird was released on New Year’s Day in 1971. Half a century later, it still conveys the freshness and excitement of discoveries being made. The album signaled the arrival of four Norwegian improvisers – Jan Garbarek, Terje Rypdal, Arild Andersen and Jon Christensen – at the fledgling ECM label. It was the start of a lifelong association with each of the musicians, whose influence was soon to reach far beyond the borders of their homeland.

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