Grammy-winning and BRIT and Mercury-Prize-nominated artist La Roux returns with her first new material in five years - 'Supervision' out February 7th 2020 on her own label Supercolour Records. From cover to contents, this is unequivocally the album Elly Jackson always wanted to make - a claim that with some artists might ring alarm bells, but in this instance simply means that ‘Supervision’ sounds precisely, unmistakably, gloriously like La Roux.
La Roux shot to worldwide fame with her debut self-titled album in 2009 selling over 6 million singles worldwide and - in addition to collaborations with the likes of Skream, Kanye West, and Major Lazer – helped reshape pop as we now know it. Elly’s second album, 'Trouble In Paradise', was a critically-adored reinvention, topping the Dance/Electronic charts in the US and landing La Roux her second top 10 album in the UK.
ANDY SHAUF is becoming one of the most important songwriters of his generation. His songs are tuneful vignettes of small moments and big hearts. On his latest, The Neon Skyline, Shauf intertwines stories of a group of friends who frequent a local dive bar, and through them, makes poignant observations about human nature with a novelist’s detail and melancholic humor. The songwriting is down to earth, yet sophisticated and inventively melodic. The Neon Skyline is a creative leap for this already acclaimed artist.
Starting with the following year’s Under Wires And Searchlights, they’ve created an explorative body of instrumental work that’s shifted between electronica, dub, minimalism, avant-jazz and ambient music. Along the way they’ve collaborated with the likes of Jah Wobble, remixed Max Richter and Vök and provided soundtracks for art installations and other visual media. They’ve also had their own music remixed by Biosphere and Japan’s Steve Jansen, among others.
The new album offers ample evidence of a band in its prime. Marconi Union still sound vital and original, enthused by the possibilities that music has to offer. “We’ve never wanted to repeat ourselves,” states Talbot. “We’ve made ten albums and have been going for 17 years, but it still feels fresh. That’s been so important for us all the way through. We’re looking to do new things all the time” co-founder Richard Talbot says.
Indeed, the exquisite Dead Air bears only a passing resemblance to its 2016 forerunner, Ghost Stations. The trio have dispensed with beats, brass and guest musicians this time around, opting instead for a more intimate and textural approach, a constantly evolving soundworld of tones and sensory impressions. Dead Air also bears little resemblance to the trio’s initial vision for it. “The album we set out to make had far more of a rhythmic element,” explains Talbot, “but fairly late in the process, we decided to completely change direction.” This is entirely in keeping with Marconi Union’s guiding methodology. Ideas remain fluid throughout the writing process, until Talbot and bandmates Jamie Crossley and Duncan Meadows ultimately settle on what feels right to them.
As such, Dead Air is a sublime testament to their collective instinct.
Marconi Union’s most successful album to date is Weightless (Ambient Trans- missions Vol. 2). ‘Weightless is widely considered to be ‘the most relaxing track in the world’
Tony Award–winner Idina Menzel has a career that traverses stage, film, television, and music and in time for the holidays she releases an album of traditional and brand-new songs featuring Ariana Grande, Billy Porter, Josh Gad and her husband, Aaron Lohr. Timed to coincide with the release of Disney’s Frozen 2, which includes Idina’s unforgettable voice in the title role of Elsa, this new album is sure to bring friends and family together throughout the holiday season.
JD McPherson presents A Christmas Album, SOCKS. Featuring 11 original tracks written by JD McPherson and his friends. SOCKS is an album of Holidays songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , "All The Gifts I Need" and "Every Single Christmas." Or, burn the cookies to "SOCKS" and "Ugly Christmas Sweater." There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, "Bah Humbug".
"In January 2019 I found myself stuck in a Chicago hotel room during the “Polar Vortex”. I was performing there with my duo Radnor & Lee over a few nights when temperatures dropped, leaving me unable to do much outside my hotel room for 4 days.
Chicago is a city that holds a special history for me, and I found myself spending a good chunk of time staring out my hotel window, reflecting on my first trip there in 1993 to record my debut solo album Grandpaw Would at Idful Studios with Brad Wood. But more than the details of that trip, I was struck by how vividly memories started flooding back tome of being a 15 year old mega fan of music, and in particular, indie rock. I LIVED for the records that I loved and the bands who made them. I’m not sure you are ever a fan of bands the way you can be as a teenager. It’s pretty sacred.
I started re-listening to some of my favorite songs from that period in that hotel room, by the Beat Happening, Pavement, Fugazi, The Breeders, Guided by Voices. It struck me as crazy that these songs and the feelings that accompanied them were now over 25 years old. It started seeming odd to me that for some reason, indie rock hasn’t been canonized the same way ‘60s and ‘70s rock has. After all, Dinosaur Jr were my Led Zeppelin, Sonic Youth were my Grateful Dead and Built to Spill were my Steve Miller Band. These were my classics!
I always travel with my portable studio gear, and I immediately sat down and started learning and recording a collection of my favorite songs. I spent my 4 days of the 2019 Polar Vortex creating the blueprint for what would becomeQuarter Century Classix. When I got home to LA, I invited my friends Julianna Barwick, William Tyler and Mary Lattimore to my home studio to add their magic to my recordings as I knew they grew up in reverence of the same records I did. These three genius musicians became the “band” who you can hear framing these covers and I am eternally grateful for their talent and generosity. Later, Maria Taylor, Mike Watt, Petra Haden and Joey Waronker all showed up to play too.
To some people these songs are just footnotes in pop culture history. But to me, they are the essence my own personal history. I wanted to make this record a tribute to these bands, to these songs, and to the irreversible way music can touch and transform the life of a young person. I hope you enjoy
Quarter Century Classix. - Ben Lee
Vinyl: $28.98 PRE ORDER
In honor of the 50th Anniversary of the Allman Brothers debut album, New West Records is proud to present, Big Band of Brothers: A Jazz Celebration of the Allman Brothers Band. This record is a true collection of big band jazz interpretations of Allman Brothers classics. The record features guest vocals by Marc Broussard and Ruthie Foster. Big Band of Brothers also features Jack Pearson on guitar, who has performed as a guest of the Allman Brothers Band on numerous occasions, and actually joined as a member of the band in 1997. Together with Dickey Betts, he completed the band’s archetypal guitar duo for nearly 3 years. Wycliffe Gordon (of Jazz at Lincoln Center fame) is also featured as a soloist. Gordon is consistently ranked among leading trombone players in the Downbeat critics poll.
uknowhatimsayin¿ marks a buoyant new chapter in Danny's career, a transitional and celebratory moment. His profile has grown since Atrocity and now armed with a cable TV show and a co-sign from one of rap's icons, we will look to solidify his positioning as a ubiquitous entertainer, independent rap hero, and one of the essential cultural voices of this era, while still retaining the edgy, maverick style that makes him a fan-favorite. The album is executive produced by Q-Tip, and features production by Q-Tip, JPEGMAFIA, Flying Lotus, Paul White, Standing on the Corner and more.
Imagine the mind’s farthest wanderings made physical, formed into worlds that represent our internal and external expressions. Mythologically speaking, people have been naming this duality for ages: utopia and dystopia, heaven and earth, Olympus and the underworld. Now imagine this concept distilled in an eleven track, thirty-six minute album, and you arrive at Arcadia, the latest offering by songstress Lily Kershaw. Weaving warmer analog sounds like organ, harpsichord and guitar with cinematic force, Arcadia is Kershaw’s most intimate release to date. But the strongest tool Kershaw wields is her voice, both in the simmering ferocity it carries and the poetry it speaks. Though the concept behind the record is epic to say the least, Kershaw is ultimately telling a story of acceptance, both of herself and the great mystery that is the universe
The original release of the Jackson 5's Greatest Hits LP in 1971 was cause for celebration, as it encapsulated an extraordinary 18-month strings of back-to-back-to-back-back-etc. hits and was itself a hit souvenir of Jacksonmania. It featured eight smash records, led by the group s phenomenal Motown debut, 'I Want You Back,' plus two immensely popular B-sides 'I Found That Girl' and 'Who's Lovin' You' and something new: 'Sugar Daddy,' a just-dropped single which went top 10 pop and no. 3 R&B; it was then not available on any other J5 LP. This LP reissue is something new again: it features the rare quadrophonic mixes, originally released in Japan only in 1975. These mixes used alternate vocals and sometimes emphasized instrumentation not heard in the J5 singles or LP and as a result these versions are much sought-after. As within this edition these mixes are the stereo folds, consumers do *not need a special decoder or four speakers to enjoy the music.
Maryland-based singer/songwriter and multi-instrumentalist Michael Nau is back with a fourth “solo” album, on the heels of his 2018 release, Michael Nau & The Mighty Thread. Nau, who previously fronted projects like Page France and Cotton Jones, is known for his unique blend of psychedelic folk, R&B, and indie rock music. On his latest effort, Less Ready To Go, Nau enlisted Scott McMicken (Dr. Dog) as a producer, along with collaborators Whitney McGraw, Andrew Dost (fun.), Zach Miller (Dr. Dog), Benny Yurco, and Seth Kauffman.
FITTED is a new project from Wire members Graham Lewis and Matthew Simms, with Mike Watt (Minutemen, Stooges, fIREHOSE) and drummer Bob Lee (Fearless Leader, The Freeks). The group first convened after just one practice to perform at Wire’s DRILL festival in 2017 at The Echo in Los Angeles. On their debut album, First Fits, the freewheelin' pysch-pop powerhouse plows through six numbers over the course of 38 minutes, with Lewis and Watt trading lead vocal duties. The album will be available on LP, CD, and digital formats beginning November 8th.
The vinyl release features a deluxe package with a gatefold jacket and lyric insert.
Over their career, Cold War Kids have fielded music’s seismic shifts while simultaneously sticking to their own game plan. Over the course of a dozen releases – including seven studio albums, multiple EPs, and a live album on majors and indies alike, non-stop tours and the festival circuit’s biggest stages, massive radio, sales & streaming successes, the band have become a major part of the modern landscape. Their new album New Age Norms 1, with lead single “Complainer” is the next chapter with the approach of taking apart the idea of what the band is and just trying to take the doors off a bit to see where it can go.
The Hollywood legend, coolest man on the planet and purveyor of fine jazz will release his second album in November on Decca Records. And this time he’s bringing his friends. Jeff has assembled an extraordinary gang of vocalists from all walks of musical life, some of whom are revealing their jazz voices for the very first time. The feel good jazz album of the year, featuring singers Sharon Van Etten, Fiona Apple, Inara George, Jeff Goldblum & Anna Calvi.
This title was recorded live at the historic Village Vanguard in NYC in the Fall of 2018 during Jon Batiste’s residency at the legendary space. It is the follow up to “Anatomy of Angels’, which is part 1 of this 2 part series. The music on this release is original, instrumental music (other than “Soulful” which is a tribute cover to Ray Hargrove) showcasing Batiste’s virtuosic and uplifting talent he uses to command a room, and an iconic one at that.
Japanese Wallpaper is Gab Strum, Melbourne-based dream pop producer, songwriter and artist. Gab blends shimmery synths, downtempo beats, and electronic influences with introspective, coming of age song themes to craft his brand of indie pop. Glow is the debut album from Japanese Wallpaper about navigating the simultaneously beautiful and incredibly awkward phase that is one's late teens, growing up and trying to figure out your place in the world. Produced by Grammy-winning producer Ben H. Allen (Walk the Moon, Animal Collective, Gnarls Barkley, Kaiser Chiefs, Cut Copy, Washed Out, Neon Indian),
Nirvana's classic MTV Unplugged in New York album is getting a 25th anniversary vinyl reissue. Marking the iconic lives set's first pressing as a double LP, the new edition features five rehearsal performances that were previously available on only the DVD release.
Among the rehearsals – which were previously only available as bonus content on the MTV Unplugged in New York – is a different take on the David Bowie cover “The Man Who Sold the World,” a version that finds both Nirvana and the production team finding their footing ahead of the concert. Rehearsal versions of “Polly,” “Pennyroyal Tea,” “Come As You Are” and the Meat Puppets’ “Plateau” are also included on the vinyl’s Side D.
After 30 million albums sold, 13 No. 1 jazz albums in the United States, and a film, television and music career spanning three decades, Harry Connick, Jr. returns with a new sound, new label home and new record, True Love: A Celebration of Cole Porter.
Focused exclusively on the songs of Cole Porter and his Great American Songbook, the sensational recording demonstrates Connick’s multitude of talents as pianist, singer, arranger, orchestrator and conductor, breathing new life into popular tunes including “Just One of Those Things,” “Anything Goes” and “You Do Something To Me.”
'Tombstone Every Mile' was Bill Kirchen's first solo album, but it has been unavailable for many years. Originally released in 1993 it featured him in his Washington DC based trio. Fellow DC area guitar man Danny Gatton was to produce the disc, but by the third day of recording he still hadn't shown up, so Bill ended up self-producing with engineer Ed Eastridge. Bass man Jeff Sarli had already played with artists on the Black Top label out of New Orleans, Robert Ward for one, so Bill pitched it there and they agreed to release it in USA. Kirchen then approached Jake Riviera at Demon, who he knew from making the Moonlighters disc with Nick Lowe, and they released it in Europe. The album reflects what they were doing working the Honky-Tonks in DC and points beyond. Kirchen hadn't been writing much material post-Commander Cody, and was perfectly happy singing Dick Curless, Bob Wills and Buck Owens etc all night. So, he called on song writing friends like Blackie Farrell, Nick Lowe and Austin de Lone, who came through with some ideal material for the album, inspiring Bill to manage a couple of serviceable originals which remain in the repertoire to this day. The 2019 edition is available on CD 12"" vinyl LP and digital formats.
Fastball's new album, The Help Machine, follows on the heels of the bands acclaimed 2017 release Step Into Light. The new set, on the Austin's TX trio's own 33 1/3 label, once again demonstrates the distinctive songwriting, expressive vocals and inventive melodic sensibilities of Miles Zuniga and his bandmate Tony Scalzo. With drummer, Joey Shuffield completing the longstanding lineup, the trio's time tested creative rapport is a potent as ever on such compelling tunes as Scalzo's White Collar, All Gone Fuzzy, and The Girl You Pretend to Be and the Zunga compositions Friend or Foe, Holding The Devil's Hand, and the album's enigmatic title track .
‘What’s Going On Live’ features Marvin Gaye’s legendary concert – the only live performance of his iconic 1971 What’s Going On album in full – recorded in February of 1972 at the Kennedy Center in his Washington, D.C. hometown, & notable as Marvin’s first concert after a 4 year hiatus. After being shelved for decades, the recording was eventually released on CD in 2001 within Motown/UMe’s expanded deluxe edition for the What’s Going On album. Never before issued on vinyl or as a standalone CD, What’s Going On Live is newly mixed for its 2019 release by John Morales at M+M Mix Studios and mastered by Alex Abrash at AA Mastering. Packaging includes rare photos from Gaye’s performance and a new liner notes essay by Marvin Gaye biographer David Ritz.
The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.
THE ORDER OF NATURE presents a hypnotic meeting of the classical and folk-rock worlds with both classic and brand-new material by Jim James (lead singer of critically/commercially successful My Morning Jacket) and fused with Teddy Abrams’ inspired orchestrations with the Louisville Orchestra.
Fieh (pronounced “fee-ah”) is a band created by Sofie Tollefsbøl, a singer from Eina in Norway, a small village with under a 1000 inhabitants located deep in the Norwegian forest. Sofie draws inspiration from different hip hop and soul artists such as Outkast, D’Angelo and Erykah Badu. The band’s music has evolved a lot since Sofie started releasing her Garageband-produced demos from 3 years ago, and since she attended the Norwegian Academy of Music her solo project has grown into a large band, with elements such as multiple backup singers, a drummer, a bass- and guitarist, a trumpeter and a keyboardist, all of them fellow students at the jazz course at the same school.
Selections From The Vault features tracks taken from Steve Miller’s career spanning deluxe 3 CD + DVD box set, Welcome To The Vault. The clear vinyl 1LP edition features 8 tracks, all of which are previously unreleased. Highlights include Rock’n MeAlternate Version 1, Crossroads Live and Fly Like An EagleAlternate Version, plus Steve Miller’s version of Love Is Strange, which has never appeared on a release until now.
Down ‘n’ Outz Joe Elliott’s side project away from Def Leppard release their brand new Studio album This Is How We Roll. The band is founded and fronted by Def Leppard’s Joe Elliott and backed by members of The Quireboys, Wayward Sons and Vixen. This album made up of original songs all written by Joe Elliott (bar a cover of the Tubes White Punks on Dope is the band’s first album since the Further adventures of was released in 2014. The album produced by Joe and long time Def Leppard engineer Ronan McHugh is the first to contain new songs (the previous albums were as mentioned cover versions) and sees the band channeling a very 70’s feels over 11 new songs and one cover version.
PETRA was written, produced, and performed by acclaimed multi-instrumentalist/ songwriter Anthony LaMarca, also known for his role as guitarist in The War On Drugs. Like so many Midwestern musicians before him, LaMarca left his beloved hometown of Youngstown, OH for Brooklyn but returned in 2014 and began work as The Building, often joined by his brother Angelo (guitar) and wife Megan (cello) on a series of EPs and albums – including 2017’s acclaimed RECONCILIATION – released via Peppermint Records.
PETRA – which shares its name with the LaMarcas’ beloved German Shepherd – is a bare-boned, often brutally blunt, new work from a gifted musician-songwriter forced by fate to confront life’s hardest truths and consequences. LaMarca had just begun recording at Youngstown’s Peppermint Productions – a vintage studio facility best known for producing everything from polka superstar Frank Yankovic to the Judge Judy theme song – when a spell of intense back pain led to his being diagnosed with Multiple Myeloma. Originally, LaMarca was diagnosed in the middle of making Reconciliation. He immediately started treatment, which brought the disease into complete remission. His disease relapsed last year while in the middle of making PETRA." The experience inspired a second meaning to the album’s title, the acronym P-E-T-R-A, or “Peace’s Eternal Truth Renews All.” Moreover, LaMarca’s physical struggle has resulted in the most powerful work of The Building’s still-growing canon, a vivid series of deeply personal songs such as “Purifer” and the LP-opening “Transformed,” made even more impactful through strikingly simple arrangements and raw, heartfelt performance.
“It's like a coming-of-age crisis,” says Daniel Shultz about Out of the Blue, the messy and melodic debut album from his band, Dan Luke and The Raid. “It’s about being in that space in your 20s where you’re trying to get your shit together and figure things out in life. You’re dealing with your problems”—the singer, songwriter and guitarist pauses—“even as you’re going out and partying and getting into trouble all the time.”
Shultz and his Dan Luke & The Raid band mates know a thing or two about the last part of that equation, as evidenced by the songs and subject matter on Out of the Blue. Throughout the album’s 10 tracks, people are passed out on curbs under neon signs (“Black Cat Heavy Metal”), breaking hearts over rolled-up dollar bills (“Exoskeleton”), leaving baggies lying in passenger seats (“Money Mouth”) and faking smiles and feeling ashamed (“Golden Age”). Legs are bleeding, faces are numb and Shultz declares his band to be the “diamond kings of smut.” All the while, the music throbs and pulses and twitches and buzzes with the energy and enthusiasm and inexperience of youth, bursting with harsh, distorted guitar chords, blown-out synths squiggles and hopped-up rhythms—as well as, on occasion, moments of stunning and sincere melodic beauty.
With the weight and experience of events that have been at times joyful and sad, poignant and puerile, triumphant and tragic, Dan Luke and The Raid continue to carve out their future, one musical moment at a time. “What we want to do is create music, and create music in a way where people feel something,” Shultz says. “And when we see that happening it’s an amazing thing.”
The Avett Brothers have announced a new album called Closer Than Together. The band’s tenth full-length to date arrives October 4th via American/Republic Records.
In a lengthy mission statement announcing the album’s release, Seth Avett said the band “didn’t make a record that was meant to comment on the sociopolitical landscape that we live in. We did, however, make an album that is obviously informed by what is happening now on a grander scale all around us… because we are a part of it and it is a part of us. Closer Than Together is a record of obvious American origin – a creation that fittingly could only come about through hard work, measured freedom, awe-inspiring landscapes, and perfectly flawed individualism.
“The Avett Brothers will probably never make a sociopolitical record,” Avett added. “But if we did, it might sound something like this.”
The descent into darkness is a trope we find time again across history, literature and film. But there's also an abyss above. There's a winding white staircase that goes ever upward into the great unknown - each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance. "In every way -from the making of it, to the words, to how I feel moving forward- this record is about owning up to your darkest side," Olsen said. "Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realizing that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more."
Philadelphia-based punk band, The Menzingers are set to release their sixth studio album, Hello Exile. Produced by Will Yip (Title Fight, Quicksand), the album is the follow-up to the band’s 2017 critically acclaimed release After The Party.
Since forming as teenagers in 2006, The Menzingers have shown their strength as rough-and-tumble storytellers, turning out songs equally rooted in frenetic energy and lifelike detail. On their new album Hello Exile, the band take their lyrical narrative to a whole new level and share their reflections on moments from the past and present: high-school hellraising, troubled relationships, aging and alcohol and political ennui. And while their songs often reveal certain painful truths, Hello Exile ultimately maintains the irre- pressible spirit that’s always defined the band.
The Menzingers are: singer/guitarists Greg Barnett and Tom May, bassist Eric Keen, and drummer Joe Godino.
'A forgotten roll of film was found. Shot before the turn of the century, the photographs resonate with music. The images inspired an accompanying soundtrack. The music is full of stories. The songs and stories originate in two neighboring rural counties. The cast of characters includes four families of Mississippi musicians, three generations deep, and a photographer from Texas.' - Luther Dickinson In 2017, Wyatt McSpadden found an old roll of film and tracked down members of North Mississippi Allstars to share his forgotten photographs. The images were so profound and so beautiful that they would come to inspire the latest recording, Up And Rolling. The images inspired the band to ask, 'What did the music sound like that night in 96? What does Mississippi music sound like now? What would ideally be on the push button AM/FM radio as we drove thru the hills?' The North Mississippi Allstars would return to the famous Zebra Ranch to record Up And Rolling, inspired by Wyatt's images. They gathered together, trimmed back the wisteria, and swept out the converted barn recording studio. The fired up the tube amps and old computers and began conjuring up modern Mississippi music, ancient and futuristic all at once. Telling it how it was and how they think it should be. Up And Rolling is modern Mississippi. Transcending time and space, the music reaches out into the dark of night like the wisteria vine, looking for free hearted souls to latch onto and wedge into the foundation of hate, slowly tearing down walls a generation at a time.
Beloved singer-songwriter Joshua Radin returns with his new album "Here, Right Now" produced by Tony Berg (Phoebe Bridgers, Andrew Bird) proving once again that love and the complications surrounding it to be his songwriting forté.
The music Kacy and Clayton make is inextricable from where they grew up. They sing about the kind of people you'd find in Wood Mountain, Saskatchewan (population very few.) The hills, barns and remoteness of the area are in these songs, with a bittersweet acknowledgement that this music has taken them far from home. Carrying On follows the international acclaim for their previous records Strange Country (which Q magazine called, A beautiful album that nudges a classic past into a brave future.) and 2017's The Sirens Song (described by Uncut as Ageless and beguiling. A classic record for this or any other time.) Their sound is equal parts homespun, coming from a family and community where playing music is an ever present part of social gatherings, and the rare country, blues and English folk rock these second cousins obsess over and collect. For Carrying On, Clayton cites as influences: Bobbie Gentry's Delta Sweete, Hoyt Axton's My Griffin Is Gone, Cajun fiddle music, and the steel guitar of Ralph Mooney who played on many of the records that defined the Bakersfield country music scene of the 1950s. Sixties psych has also woven its way into these new songs Having toured almost nonstop for the last two years, Carrying On was conceived and honed on the road and recorded immediately after a jaunt across Western Canada, the songs having been tried and tested before audiences each night. The album was produced once again by Jeff Tweedy of Wilco and Uncle Tupelo fame, at his Loft studio in Chicago.
Black Pumas has announced their highly anticipated debut album set for release on June 21. The band is led by the creative partnership between Grammy Award-winning guitarist / producer Adrian Quesada and 27-year-old songwriter Eric Burton. Burton is a relative newcomer who arrived in Austin in 2015 after busking his way across the country from Los Angeles, while Quesada has a storied reputation for playing in bands like Grupo Fantasma and Brownout.
After the two connected via friends in the Austin scene, they began to collaborate on a new sound that transmutes soul into something idiosyncratically modern. Reminiscent of Ghostface Killah and Motown in equal measure, this original sound ensured that Black Pumas’ weekly residency at C-Boys quickly became “the hottest party in town” (Austin-American Statesman).
This limited edition Deluxe vinyl box set features all 40 tracks from the Super Deluxe collection on three 180-gram vinyl LPs. The album’s new stereo mix LP is packaged in a faithfully replicated sleeve, with the two Sessions LPs paired in their own jacket, presented with a four-page insert in a lift-top box. Giles Martin, working with Sam Okell, from the original eight-track session tapes, was guided by the album’s original mix supervised by his father, George Martin.
Genre-bending band Whiskey Myers have played nearly 2,000 live shows since their emergence in 2008 and have sold out more than 115 headlining shows in the last year alone. As Esquire proclaims, "Whiskey Myers are the real damn deal." USA Today describes the band led by frontman Cody Cannon as "a riff-heavy blend of Southern rock and gritty country that has earned comparisons to the Allman Brothers Band and Led Zeppelin," with Rolling Stone noting "it's the seminal combination of twang and crunchy rock & roll guitars that hits a perfect sweet spot." Their most recent album, Mud, reached No. 1 on the iTunes country chart with single "Stone" hitting Top 10 all genre and their fifth studio album, which they self-produced for the first time, is set for release this fall. Whiskey Myers was featured in Paramount Network's new Kevin Costner hit show "Yellowstone" with synced songs throughout season one as well as an appearance by the band in episode four as part of the storyline, with the band set to return with additional synced songs in season two.
What happens when a nation that was born to run, and to rev engines into the wild frontier, runs into the full stop that is our current social and political climate? The answer, my friend, is somewhere “In the Morse Code of Brake Lights,” as The New Pornographers would have it on their eighth album. There’s a deep climatic unease running through these 11 tracks that’s matched only by the sheer musical glee with which the band addresses the prevailing mood of the moment. It’s an album in which foreboding and bliss somehow go hand in hand—mixing founder A.C. Newman’s nearly symphonic levels of pop arrangement and harmony with a careening quality that feels unsafe at any speed (to quote the famous Ralph Nader phrase that the opening track also borrows).
Like a personal fantasy, Tove Lo invites you close enough to see, hear, and feel the moment just before it evaporates back into the ether once more. In 2018, she officially relocated to Los Angeles and dove headfirst into creating her fourth full-length, Sunshine Kitty. It represented a new season for Tove marked by a reclamation of confidence, hard-earned wisdom, more time, and a nascent romance. It starts with the confident and catchy single “Glad He’s Gone.”
Platinum-selling artist Jon Pardi announced his highly-anticipated new album, tour and single titled Heartache Medication. Set for release on September 27, Pardi's upcoming album, Heartache Medication, includes the album's lead single and title track Co-written by Pardi, Barry Dean and Natalie Hemby, Pardi revealed the new single showcases a taste of what is to come on the next record exclusively to the Associated Press, noting the songs lift you up. They put you in a higher place. "The single 'Heartache Medication' has an 80's George Strait 'Fool Hearted Memory' feel to it, and is something people can dance to, said Pardi. That's something I really wanted for this album. There really are no sad songs on this record-it covers a range of subjects, but is ultimately about moving on, and having a good time. Recognized for his "state-of-the-art blend of traditional instrumentation and progressive grooves that points to country's future (Rolling Stone) and as a leader among a growing number of artists bringing back fiddle, steel and twang while still finding ways to freshen the sound (People), Pardi again serves as a co-producer on the new album, Heartache Medication. Heartache Medication is the follow up to Pardi's co-produced Platinum-selling breakthrough #1 album California Sunrise, which featured Multi-Platinum, chart-topping hits including Dirt on My Boots, Head Over Boots, Heartache on the Dancefloor and Night Shift." The CMA and ACM Award-winner also revealed plans for his HEARTACHE MEDICATION TOUR
Chart-topping alternative band Boy & Bear's fourth studio album Suck on Light is a triumphant return after lead singer Dave Hosking's battle with illness and eventual recovery. The album follows his excruciating journey and the beauty that came on the other side. Produced by Collin Dupuis (Lana Del Rey, Cage the Elephant, Black Keys).
In 1964, the National Film Board of Canada asked John Coltrane to record the soundtrack for a French-language film titled “Le chat dans le sac” (“The Cat in the Bag”). In June of that year, Coltrane’s ‘Classic Quartet’ entered Rudy Van Gelder’s studio and recorded five previously-recorded Coltrane originals. For many years, viewers of the film who recognized the music thought that they were listening to the original recordings, though in fact they were new and had never been heard.
Composed and assembled over the course of several years, Jaime is a highly personal album release combining Brittany’s unmistakable voice with peerless, visionary and fearless songwriting. Brittany has constructed an assemblage of songs which bend the framework of what we know from her previous work with Alabama Shakes and endeavors with Thunderbitch and Bermuda Triangle, music which wholly sits in a new terrain of sound bolstered by an incredible band of musicians including Zac Cockrell of the Shakes, drummer Nate Smith and the one and only Robert Glasper.
On his new album, ‘Ideal Man,’ Andrew Combs worked with producer/engineer Sam Cohen (Kevin Morby, Benjamin Booker)to achieve a more raw, direct sound. The collection was captured live in Cohen’s Brooklyn studio, with compact arrangements fueled by taut, elastic grooves. While Combs may be best known as a singer/songwriter in the classic 1970’s Laurel Canyon sense, he proves the true versatility of his work here, often setting his acoustic aside in favor of atmospheric synthesizers and distorted electric guitars. Combs worked with some of his favorite writers on the album, including Dylan LeBlanc, Jeff Trott, Joe Henry, and Kenny Childers, but the stories he tells here are deeply personal and remarkably vulnerable.
A sense of danger and violence underlies the entire record, much as it does the entire country, but it only serves to make the moments of beauty and connection here that much more poignant. Life is short and the clock is ticking. Andrew Combs doesn’t plan to waste a second.