Six-time Grammy-nominee Florence + the Machine to release hugely-anticipated new album ‘High As Hope’ June 29th via Virgin EMI / Republic Records. ‘High As Hope’ is the sound of an artist who appears more certain than ever of herself. Florence writes about her teens and twenties with a renewed, more mature perspective: of growing up in South London, of family, relationships and art itself. The first official single ‘Hunger,’ is out now.
My head feels like it is exploding with the amount of information we are forced to consume on a daily basis, and how that information is so DISTORTED there is almost no longer any tangible truth,” says James. “The name of my new record is UNIFORM DISTORTION because I feel like there is this blanket distortion on society/media and the way we gather our ‘news and important information. More and more of us are feeling lost and looking for new ways out of this distortion and back to the truth…and finding hope in places like the desert where I write this now...finding hope in the land and in the water and in old books offering new ideas and most importantly in each other and love.
Single LP on black vinyl with printed inner sleeve. Includes coupon for full download
Formed in Brooklyn in 1998, The Essex Green released four albums between 1999 and 2006. They became one of the few bands from the Northeast to be associated with the groundbreaking Elephant 6 Collective. Their unique blend of harmony-infused pop music culminated in the 2006 release of Cannibal Sea.
Sasha Bell, Jeff Baron, and Christopher Ziter were last seen together in the late aughts, waving from their van as they bid farewell to Brooklyn. And then, the unthinkable: The Essex Green went silent. But why? Legal cannabis? Climate change? Bad oysters? Nothing so dramatic. It was a simple promise made among them to chase down their separate dreams: Baron to build a houseboat and navigate the mighty Allegheny, Monongahela, and Ohio Rivers; Ziter to return to his home state of Vermont and lead local fermentation efforts; and Bell to decamp to Montana to study elk rutting.
Having achieved their goals or not, they vowed to break their silence in secret on the frigid waters of Lake Champlain during the blood moon eclipse of 2015 when the effect of the moon in Libra would be most powerful. Over the next two years, the three continued to meet and record in undisclosed locations. The result is Hardly Electronic, a music mapping of the trio’s personal journeys over the past decade.
Following the group’s 1985 formation, Guns N’ Roses injected unbridled attitude into the burgeoning Los Angeles rock scene. They went on to captivate the entire world with the July 21, 1987 release of Appetite For Destruction, which remains the best-selling U.S. debut album ever, moving over 30 million copies globally. Appetite features such indelible tracks such as the No. 1 single “Sweet Child O’ Mine,” “Welcome To The Jungle,” “Nightrain,” and “Paradise City.”
The Appetite For Destruction: Super Deluxe Edition features 4CDs including the album newly remastered for the first time ever; B-sides N’ EPs newly remastered; the previously unreleased 1986 Sound City Session N’ More recordings; a Blu-ray Audio disc with the album, bonus tracks and music videos in brand new 5.1 surround sound along with the unearthed music video for “It’s So Easy” originally shot in 1989 but never finished; and a 96-page hardcover book showcasing unseen photos from Axl Rose’s personal archive and wealth of memorabilia. In addition, the Super Deluxe Edition contains collectables like never-before-seen band lithos, replica concert tickets, a wall poster, temporary band member tattoos , a Robert Williams painting litho, and a replica “Welcome To The Jungle” video shoot invite flyer originally drawn by Slash.
Single LP on black vinyl in single sleeve. Includes coupon for full download
Born in Cabbagetown, Georgia, the Rock*A*Teens carved their signature echo-wrapped, wounded-heart music on the edges of the Atlanta music scene more than 20 years ago. Led by songwriter and lead singer/guitarist Christopher Lopez, the band released a handful of reverb-drenched singles and full-lengths on the independent Daemon and Merge labels in the late ’90s and early 2000s.
Following their reunion at the Merge 25 festival and the reissue of their last LP Sweet Bird of Youth (Merge, 2000), the group returned to touring and playing live. Restless with the need to move forward, the band began writing and recording new music.
Guided by a batch of home recordings and demos, Lopez, guitarist Justin Hughes, bassist William R. Joiner, and drummer Ballard Lesemann convened with Tim Delaney at Electron Gardens Studio and Rafael Pereira at Tribo Studios to shape their ideas into the glorious, bombastic new album Sixth House.
There comes a point in every career of note, when it’s time to dig a trench in the turf; to define exactly who you are in a way that resonates in the broadest possible manner. For Bullet For My Valentine – now two decades deep into their story, one of rock and metal’s foremost names, a genuine success – that time is now. Produced and mixed by Carl Bown, ‘Gravity’ (the UK band’s sixth studio album, the follow-up to 2015’s ‘Venom’) sees the musicians delivering a body of work that looks set to add extra layers of excitement and meaning both to their own trajectory and to the genre per se. At a time when the international scene feels ready for a serious shot in the arm, ‘Gravity’ is an album of true craft and vision – an ambitious labour of love with the weight and the punch that the band’s extensive, ever-burgeoning fan-base has come to expect, a point made in style by lead single / video ‘Over It’, whilst adding enough in terms of atmosphere, melody and contemporary sheen to spin heads in wider circles.
Backed up by an extensive worldwide touring plan that sees BFMV’s strongest ever line-up playing major shows and festivals for the whole of 2018 (and beyond), ‘Gravity’ already feels like an important album. Simply, this is frontman Matt Tuck and his fellow players thinking big and bold and refusing to compromise or back down.
The title is ‘Gravity’, but the music is set to rise like a rocket. Let the countdown commence…
The Milk Carton Kids’ fifth album , All the Things That I Did and All the Things That I Didn’t Do arrives from ANTI- Records on June 29. The new project marks the first time that acoustic duo Joey Ryan and Kenneth Pattengale have brought a band into studio with them. “We wanted to do something new,” Pattengale says. “We had been going around the country yet another time to do the duo show, going to the places we’d been before. There arose some sort of need for change.” “Musically we knew we were going to make the record with a big- ger sonic palette,” says Ryan. “It was liberating to know we didn’t have to be able to carry every song with just our two guitars.” “Sometimes in singing, we’ll switch parts for a beat or a bar or a note,” Ryan says. “And things start to obscure what is the melody and what is the supporting part.” A third presence rises out of their combined voices. “There are only so many things you can do alone that al- low you to transcend your sense of self for even a short period,” Pattengale says. “I’m the lucky recipient of a life in which for hundreds of times, day after day, I get to spend an hour that is like speaking a language only two people know and doing it in a space with others who want to hear it.”
Unknown until 2004 and unheard until now, these recordings by the John Coltrane Quartet are, as Sonny Rollins says in the liner notes, “like finding a new room in the Great Pyramid.” With the discovery of the ¼”reference tapes that Coltrane took home with him after the recording session a session that was completely unknown and for which master tapes don’t exist an important chapter in the evolution of Coltrane’s music can now be heard for the first time. Featuring the Classic Quartet John Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones and recorded at the end of a two week run at Birdland, the music on this album represents one of the most influential groups in music history both performing in a musical style it had perfected and reaching in new, exploratory directions that were to affect the trajectory of jazz from that point forward.
The Interrupters are an L.A. based four-piece bound by their rebel spirit and deep love of punk, rock, ska and 2 Tone. They make super high-energy rock -n-roll that’s equal parts catchy and confrontational. Their third album, Fight The Good Fight, was produced by Rancid’s Tim Armstrong and released on his Hellcat imprint for Epitaph Records. The album features front-woman Aimee Interrupter, guitarist Kevin Bivona, bassist Justin Bivone and drummer Jesse Bivona, spitting out lyrics that take on matters as thorny as family, friendship, martial law and loyalty, while churning out bouncing rock-steady rhythms and snarly guitar riffs. The Interrupters have built their live act of unstoppable energy and a feeling of easy community that reflects their familial vibe. They had toured the world with the likes of Green Day and Rancid and played huge festivals from The Vans Warped tour to Coachella. “There is usually a dance party going on in the crowd, which we appreciate since we always have our own dance party happening on stage,” says guitarist Kevin Bivona. The Interrupters will be dancing their way to a town near you this summer on many festivals and tours including The Punk in Drublic Festivals, Back to The Beach Festival and the Main Stage on Vans Warped Tour.
Seeing The Unseeable brings all four studio albums that the band released on Restless Records between 1984 and 1990: Hear It Is (1986), Oh My Gawd!!!...The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Among the set’s many sonic treasures are: “Godzilla Flick,” “Unconsciously Screaming,” “One Million Billionth Of A Millisecond On A Sunday Morning” and their cover of the classic “(What A) Wonderful World.”
The set is also packed with rare recordings originally released as b-sides, flexi discs, and on various compilations like, the Sub Pop single “Strychnine/Peace, Love And Understanding” and a cover of “After The Gold Rush” from a 1989 Neil Young tribute album Also included is The Mushroom Tapes, the series of demos for the band’s final Restless album, In A Priest Driven Ambulance, only previously issued on the Rykodisc compilation CD, The Day They Shot A Hole In the Jesus Egg.
Equals is The Alarm’s first album since 2010. It is a barnstorming collection of 11 songs that act as a retrenchment of old values and a poignant reflection of the tough times Mike and his wife Jules have been through in recent years. Equals was produced by George Williams. Mike and Jules are joined by drummer Smiley (Joe Strummer & The Muscaleros) and guitarist James Stevenson (Gen X, The Cult). Guitarist Billy Duffy (The Cult) is featured on the track, "Coming Backwards." LP is standard weight, black vinyl.
Let's Eat Grandma, one of the most vital bands of our time, follow on the cult success of their debut album I, Gemini with the game-changing I'm All Ears. The British duo, comprised of teenage vocalists, multi-instrumentalists and songwriters Rosa Walton and Jenny Hollingworth, have pole-vaulted expectations and preconceptions delivering something fresh, fun and meaningful. I'm All Ears is alive with furious pop, unapologetic grandeur and intimate ballads. Featuring loops, Logic, outrageous 80s drum solos, as well as production from David Wrench (The xx, Frank Ocean, Caribou), SOPHIE (famed for her own material and work with Madonna, Charli XCX and Vince Staples) and Faris Badwan (The Horrors). I'm All Ears is the most startling, infectious, innovative and thrilling record you'll hear this year.
Fronted by Zahira Gutierrez (vocals/keyboard) and Cody Swann (guitar/vocals), Wild Moccasins’ forthcoming third full-length serves as a new beginning for the group. Look Together tackles themes of repairing relationships, shedding insecurities, and fresh starts, with vibrant guitar and synth lines layered under Gutierrez’s soaring pop melodies. Look Together is highly pop-powered, with Ben H. Allen (Gnarls Barkley, Deerhunter, Animal Collective) at the production helm. Recorded at Atlanta’s Maze studios, Allen encouraged the group to revise their approach to the writing and recording process. The result is a diverse album that blends the signature, guitar-driven elements of Wild Moccasins’ early discography with expansive electronic and '80s/'90s pop components. The impassioned 12-track LP began to form merely a week after the release of 2014’s 88 92, as Gutierrez and Swann’s decade-long romantic relationship dissolved. Healing proved to be a burdensome task, as Wild Moccasins were charted for two years of extensive touring. Gutierrez and Swann would spend countless hours positioned in a shared tour van, painfully staring each other down on stage and ultimately exchanging exaggerated he-said-she-said’s through songwriting. For most romantically intertwined bands, Look Together would have never happened. Dissolving the group would seem to be the logical conclusion of their romantic split, but instead, the former couple chose to reconcile their differences the only way they knew how – working towards a common musical goal.
The continuing story of The Kinks co-founder's journeys through America, as depicted in his 2013 memoir Americana and 2017's album of the same name, 'Our Country: Americana Act II' is a concept album borne from Davies' vision of America - how it shaped him and evolved through the years. Like its predecessor, the album was recorded at the legendary Konk Studios in London with guitarist Bill Shanley and The Jayhawks once again serving as Davies' backing band.
Reissued almost 20 years to the day of the album’s original release date - this first (and only) live album from the Godfathers of Punk comprises a double LP set and features a replica of the rare poster that came with the original 1998 pressing (featuring frontman Mike Ness on stage). The set includes such favorites as “Story of my Life,” “Don’t Drag Me Down,” “Bad Luck,” “Mommy’s Little Monster” and a cover of Johnny Cash’s “Ring of Fire.” Typical of Social Distortion’s reputation, the band performs with a fierce energy onstage and Live at the Roxy captures this intensity.
Ari Roar's Calm draws on 1960's pop and modern DIY heroes for a set of lovingly languid, lo-fi miniatures. Depths of detail and lived experience bustle beneath effortlessly melodic surfaces; sure signs of a writer in confident command of his pitch. For Ari, Calm Down is a milestone in a journey that began in Dallas, Texas, where he started songwriting as a child on his family's ''super-old, out-of-tune piano''. With a tight run-time of 28 minutes and few of its 15 songs breaching the two-minute mark, Calm Down is not an album that overstates its case. ''Called In'' merges the influences of garage-pop and Grandaddy, while the brightly summery ''Windowsill'' and literal shaggy-dog tale ''Lost and Found'' show an easy lightness of narrative touch and mood control.
Je Suis Une Ile (I Am An Island) is the debut album from French multi-instrumentalist Halo Maud. Hailing from the French proggy, psychedelic and experimental pop scene that birthed Melody's Echo Chamber, Moodoïd and cult label La Souterraine, her ethereal songs flit between the English and French language. She focuses on notions of freedom and power as seen through a wild and playful lens. Every one of her influences can be felt in her songs. Her father was a reverend, and lead single ''Baptism'' was inspired by Maud's own baptism at age twelve. The second half of the album looks back on the first through a distorted mirror, filled with loops, percussion and keys that are always about to slip from mischief to malevolence.
At 80 years old, NEA Jazz Master Charles Lloyd remains an intrepid musical pioneer, entering his ninth decade at a creative peak in what now stands as a mountainous and formidable career. With his newest band The Marvels—a guitar-driven group featuring Bill Frisell, Greg Leisz, Reuben Rogers, and Eric Harland—Lloyd released the 2016 album I Long To See You which NPR called “music that evokes an uncommon state of grace.” Now on Vanished Gardens, The Marvels add a new dimension by collaborating with revered singer-songwriter Lucinda Williams to pioneer a new genre of Americana Jazz that draws on the musicians many influences and experiences with reimagined versions of Williams favorites, new Lloyd originals, and covers of Jimi Hendrix, Thelonious Monk, and more.
The Nude Party – one of 2018’s most groovy and dynamic rock records is produced by Oakley Munson of The Black Lips and recorded in Woodstock, NY at Dreamland Recording Studios, the circa-1896 former St. John’s Church. The self-titled album finds that formidable music machine cranked all the way to cosmic. Maybe it’s the electric waters of Lake Norman, NC where the band spent a primordial summer, or the upstate New York vibes that have beckoned American spiritualists and storytellers for a dozen generations, but something gives these cats a glow. At very least the numerology scans. Even when heartbreak crashes the party, like on the hilarious “Records,” the buoyancy of the band’s demeanor negates the inevitable bummer. From the self-aware irreverence of “Chevrolet Van” to the apocalyptic resignation of “War Is Coming,” The Nude Party surfs heavy wavelengths with elegance and grace.
This July marks the 50th anniversary of one of the most iconic and groundbreaking animated films of all time with a limited run of screenings around the world. As part of the celebrations, Capitol are releasing this picture disc of the title song, Yellow Submarine b/w Eleanor Rigby, which together was originally released as the band’s 13th single in August 1966.
Featuring images taken from the high resolution 4k restoration of the film, this limited edition single is a fun way for us all to join the party!
A band intuitively connected to great, homespun British pop, “Palo Santo” announces Years & Years’ ascension to the world stage, through an escapist futuristic fantasia created by Olly Alexander. A once-in-a-generation frontman who understands more than most his responsibility as a pop star, his personal leap forward in scope and ambition is reflected in the album’s colorful mix of collaborators, which range from Greg Kurstin, Julia Michaels and Justin Tranter to Steve Mac and Sarah Hudson.
Erasure are delighted to announce a brand new live album, World Be Live, via Mute. Taken from their recent sold out European tour in support of 2017’s World Be Gone, the album was recorded across the band’s recent London shows at the Eventim Apollo in Hammersmith and completes the trilogy of album releases around the World Be Gone project which started with 2017’s World be Gone album and continued with the orchestral re-imagining of those songs, World Beyond, in March of this year. Featuring twenty-four classic tracks from throughout their career (including an exclusive cover of Blondie’s 1981 classic “Atomic”), World Be Live will be released as 2CD, 3LP, and digitally on July 6, 2018 via Mute.
Founded in 1991 Immortal has often been the bench mark when it comes to quality extreme metal. The Norwegian natives released their debut album “Diabolical Fullmoon Mysticism” in 1992. Since then they have released eight full length releases, the last two, “All Shall Fall” (2009) and “Sons of Northern Darkness” (2002), were released on Nuclear Blast.
Going against the grain comes naturally for DevilDriver. The globally-renowned California Groove Machine have been a constant and effective force in the heavy metal world for the best part of two decades now. Thanks to widely lauded albums like 2005’s epoch-shredding The Fury Of Our Maker’s Hand, 2011’s ante-raising, ultra-brutal Beast and 2016’s acclaimed career peak Trust No One, the band led by vocalist Dez Fafara (ex-Coal Chamber) are firmly established as one of the most consistent and best loved bands in modern metal. But in 2018, expectations are about to be torched in the mother of all campfires! A monstrous collection of savage and slamming metal interpretations of Dez and his comrades’ favourite outlaw country songs, Outlaws ‘Til The End is both a startling curveball and a ferocious statement of individuality from a band with cojones to spare. “The blues and outlaw country are what made rock’n’roll. They were around before rock’n’roll...and in my head, I’ve always heard these songs heavy“, explains Dez. From the opening seconds of DevilDriver ‚sface-flaying version of Hank III’s ‘Country Heroes‘ (featuring the man himself on guest vocals) onwards, Outlaws ‘Til The End is simply one of the most vicious records the band have made yet. More importantly, these evocative, irresistible songs have all been wholly rebuilt from the ground up, powered by the classic DevilDriver sound and embellished with Dez’s unmistakable feral roar. Completing this unprecedented project is a host of metal and country luminaries providing unforgettable cameos: Wednesday 13, Brock Lindow (36 Crazyfists) Burton C. Bell (Fear Factory), Lee Ving (Fear), Randy Blythe and Mark Morton (Lamb Of God) and none other than John Cash Jr, son of Johnny Cash. The perfect marriage of badass country grit and neck-wrecking groove metal supremacy, it’s a pistol-packing game-changer delivered by true heavy metal outlaws.
The Melbourne nine piece funk-soul powerhouse The Bamboos return with a new single “Lit Up” taken from their forthcoming al- bum, Night Time People, the group’s eighth studio album due out June 8 through Pacific Theatre/BMG. Millions of listeners globally are already familiar with the winning combination of The Bamboo’s guitarist / leader Lance Ferguson and vocalist Kylie Auldist, thanks to “This Girl” by Kung Vs. Cookin’ On 3 Burners. One of 2016’s biggest chart hits, “This Girl” was a remix of a 2009 track co-written by Ferguson that showed that the world was craving pop music with genuine soul.
Mute announces a special deluxe edition of Silver Eye, Goldfrapp’s acclaimed seventh album from 2017. If 2013’s Tales of Us, a set of noirish folk fables, roamed the same pastoral landscape as Felt Mountain and Seventh Tree, then Silver Eye (a reference to the moon) belongs to the pulsing, electronic lineage of Black Cherry and Supernature only deeper and darker. The common thread between these two modes, apart from the consistently exquisite arrangements and Alison Goldfrapp’s extraordinary voice, is a set of enduring preoccupations, which inform both the lyrics and the visual aesthetic. “Mysticism, ecstasy, ritual, contemplation, metamorphosis, the elemental,” says Goldfrapp, who took all of the photographs and creatively directed all artwork visuals. “I’ve realised that there are things I feel passionate about on a deep level and they’re in this record.” On Silver Eye, for the first time, Alison Goldfrapp and Will Gregory sought new collaborators as the songs were taking shape. They spent 10 days in Dallas with John Congleton, Grammy-winning producer of St. Vincent, John Grant and Wild Beasts. In London, they teamed up with electronic composer Bobby Krlic, aka The Haxan Cloak. Alison Goldfrapp describes Goldfrapp’s music-making as “a constant quest. I don’t think you ever feel like you’ve achieved everything, it’s impossible. You’re always searching, trying to attain some kind of utopia in what you do.” With Silver Eye, that search has taken them to yet another new place, one that’s full of mystery, menace and transcendent beauty. Goldfrapp’s quest continues. Featuring the original album plus remixes of such classic tracks as “Anymore” and “Systemagic” alongside two previously unreleased tracks (including a newly recorded version of “Ocean”), Silver Eye: Deluxe Edition will be released July 6, 2018 as a 2CD set and digitally via Mute.
YUNGBLUD’s debut album 21st Century Liability will be released on July 6, 2018 via Geffen Records & Locomotion Recordings. “Blending poetic, provoking lyrics with explosive hooks”, lead single “Medication” follows up his alternative charting track “I Love You, Will You Marry Me”, performed earlier this year on Late Night with Seth Meyers. YUNGBLUD will perform on this summer’s final Vans Warped Tour and embark on his first North American headlining tour this fall.
On his second album Fantast, the Claptone universe is at its deepest and most vivid. An enigma with a tireless desire for creativity and collaboration, Claptone has brought together a diverse group of collaborators such as Kele Okereke (Bloc Party), Blaenavon, Katie Stelmanis (Austra), Clap Your Hands Say Yeah and more to produce his most artful offering yet. The 13 assured tracks come together to form an album full of supple house grooves and emotional, atmospheric textures. If you think you know everything about Claptone, Fantast will prove you wrong.
Phantasy and Mute announce the release of Daniel Avery’s Quick Eternity (Four Tet Remix) 12” single on June 29, 2018. Complimenting the long-awaited release of sophomore LP, "Song for Alpha", this 12” includes new versions of the album’s majestic closer, featuring a dramatic and thought provoking remix from Four Tet alongside a club edit of the transient and blissed out psychedelic “Quick Eternity.” The release will drop at Field Day where Four Tet and Daniel Avery share a bill and released in a limited quantity to retail following this special event.
• All three Warner-Seven Arts albums remastered on 2 CDs. • Includes 4 previously unissued bonus tracks. • Liner notes by Guaraldi biographer, Derrick Bang. Many people got to know Vince Guaraldi through his 1963 Grammy®-winning song, “Cast Your Fate To The Wind,” or via the group, Sounds Orchestral’s top 10 cover of it two years later. Lee Mendelson heard Guaraldi’s version while working on a Peanuts documentary, and contacted Guaraldi, asking him to score the upcoming Peanuts Christmas special. It was a match made in television and musical history. With songs like “Linus And Lucy” and “Christmas Time Is Here,” the special a hit and for over five decades not a holiday season goes by without an airing of the television classic. So potent and successful was the Peanuts/Guaraldi combination that Guaraldi went on to score a total of 15 Peanuts television specials and the first feature film. In 1968, Vince made a label switch from his long-time home, Fantasy Records, to his new label, Warner Bros. Records. For his inaugural album, he decided to re-interpret his Peanuts classics on Oh, Good Grief! In addition to the instantly recognizable Guaraldi sound of piano, bass, and drums, this time he added electric guitar and electric harpsichord to the mix. 1969’s The Eclectic Vince Guaraldi lived up to its title and found Guaraldi experimenting with everything from a large string section, to his first recorded vocal debut (covering the singer/songwriter, Tim Hardin), to original compositions that could be described as lengthy rock jams. Guaraldi’s last album for the label and last ever album, came in early 1970 and was called Alma-Ville. It certainly ranks among his best-ever albums. Six of the nine songs that appear on this ‘return to jazz’ project were Guaraldi originals and recorded with several different ensembles. Besides the original compositions, Alma-Ville finds Guaraldi covering The Beatles’ “Eleanor Rigby” which had become a staple of his live performances, Duke Pearson’s “Cristo Redentor” and the Michel Legrand/Norman Gimbel song “Watch What Happens.”
‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors.’ Here David Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate and gorgeous vocal harmony too. The album begins with “Right Now,” David singing, “there was silence in my heart, but now I’m striking up the band.” In addition to the core musicians and guests, LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope. Lamp Lit Prose will be the ninth release for Dirty Projectors and comes with collaborations from HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose was recorded at Ivo Shandor in Los Angeles.
Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released their debut studio album Roads To Judah in 2011 . They added drummer Daniel Tracy to the group and released their breakthrough album Sunbather in 2013. After rounding out their line up with guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. Their third album, and first for ANTI-, 2015’s New Bermuda, was heavier, sturdier, and more grounded in the dirt than Sunbather. They toured extensively to support New Bermuda playing tours and festivals with Lamb Of God, Anthrax, Danzig, and Gojira. Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imper¬fection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation. Defeat has inspired some of our best art. If you survive something terrible, you surface on the other side, walk toward the light, and come back to life. If you’re an artist, this kind of new self-knowledge can lead to creating something universal and remembered, something that can live longer than you do. While Deafheaven have managed to cross over this road in the past, they’ve nailed the feeling wholly with Ordinary Corrupt Human Love, a feeling that comes with experience and wisdom. Yes, everybody deals with hurt, everybody’s been the cause of their own implosions, and everybody has the capacity to overcome and love again. Deafheaven have found a way to externalize all of this, and in making their most complete record to date, they turn it into a balm and a cathartic exorcism.
Between the Buried and Me - Automata II - New CD Album This is PART TWO of BETWEEN THE BURIED AND ME’s two-part eighth album and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. They continue to expand their ever-evolving style, upholding a tradition of progression in the process. Track Listing: 1. The Proverbial Bellow 2. Glide 3. Voice Of Trespass 4. The Grid
Back Roads And Abandoned Motels consists of the Jayhawks' versions of songs originally written by front man Gary Louris with and for other artists, including "Come Cryin' to Me" (originally released on Natalie Maines' Mother in 2013); "Everybody Knows" and "Bitter End" (released on Dixie Chicks' Taking The Long Way in 2006); "Gonna Be a Darkness" (written and performed by Louris and Jakob Dylan for True Blood: Music From The HBO Original Series - Volume 3 in 2011); "Need You Tonight" (originally released on Scott Thomas' Matson Tweed in 2015); "El Dorado" (originally released on Carrie Rodriguez' She Ain't Me in 2008); "Bird Never Flies" (originally released on Ari Hest's The Break-In in 2007); "Backwards Women" (written with Wild Feathers but never recorded) and "Long Time Ago" (written with Emerson Hart of Tonic but never recorded). In addition the album premieres two brand-new songs.
Co-produced by Dave Izumi in Izumi's own Echo Zoo studio in Eastbourne, work began on Outsiders in early 2017. The album, though instantly recognisable as a Magic Numbers record in it's melodies, begins with a more raucous punch sonically. The confidence is more evident than ever before, noticeable immediately in the more bluesy, gnarly guitar sound. Songs like 'The Keeper', even having a distinct T. Rex feel. I've been revisiting lots of early rock'n'roll and blues records, Bo Diddley, Howlin' Wolf", Stodart explains. "I've fallen madly in love with the electric guitar again for sure. I love T. Rex, and Bowie. The silver lining of the sadness of losing ?David Bowie?? was that you go back and become obsessed again. Even the way he left us was a work of art.' There's also been a subtle but significant shift in Stodart's lyrical themes. 'It wasn't a conscious decision to refrain from looking inward but I did feel a shift creatively with the things I wanted to say and share this time around. It's allowed me the opportunity to play with characters like Michele & I have done on 'Ride Against The Wind" which we based upon a fictitious motorcycle girl gang who've grown tired of conforming and towing the line in their everyday lives." This sense of fun is also reflected in the occasional references Romeo throws in of other people's songs, such as namechecking Kate Bush's "Hounds Of Love", and "Everybody's Talkin'" by ?Fred Neil??. "I enjoy throwing in those things in a way to see if people notice, it makes songwriting more playful." The lead single is the epic Neil Young meets Fleetwood Mac" Sweet Divide". "The couplet "Maybe there's no grand design/What if this is all we find?" hints at a humanist, even atheist interpretation. "No-one knows what's to come," says Romeo. "We're all just fumbling in the dark, searching, sometimes it can be comforting to acknowledge that. The expansive, extraordinary "Runaways" is one of the album's standout moments. "It's a love song for the misfits in society" Romeo explains, 'It's saying we're 'scorned lovers' 'damaged goods' but let's stick together and embrace it, I think there's a beauty in that'
With their new album, All That Reckoning, The Cowboy Junkies once again gently shake the listener to wake up. Whether commenting on the fragile state of the world or on personal relationships, this new collection may be the most powerful album the Cowboy Junkies have yet recorded. Its a deeper and a more complete record than weve ever done before, says songwriter / guitarist Michael Timmins. These songs are about reckoning on a personal level and reckoning on a political level.
Rayland Baxter’s new album is a dream realized. Since he first started writing music, this roving rock ‘n’ roll philosopher dreamed of a space where he could devote every waking hour to creating. The hard-touring musician finally found it in the form of an abandoned rubber band factory in Franklin, KY, where he covered the windows, threw a mattress on the floor, and with guitar and piano in tow, spent three straight months writing. At night he would sit and listen to the sounds around him: coyotes, the howling wind, the faint prattle of the nightly TV news. The result of this isolation quest is ‘Wide Awake’ (July 13/ATO Records), a ten-song collection that celebrates the best aspects of humanity and grasps at understanding the worst.
Leading with his heart as much as with his head, AHI is an emotional yet discerning lyricist who would rather demonstrate love than use the word itself. He allows his light to shine inward but only to a degree, admitting to some autobiography on In Our Time but as glimpsed through an imaginative lens. While his music possesses a quality of timelessness, the sounds here reveal a broad spectrum of influence and also toe the line between retro and revelatory. None of that is by accident: the album, like its 2016 predecessor, We Made It Through the Wreckage, was recorded in Nashville -- a place AHI finds attractive for its sound and skilled studio hands rather than its glitzy polish -- and this time on analog-to-tape with flourishes of digital technology.
Body/Head is the duo of Kim Gordon and Bill Nace. Creative alchemy doesn’t just happen in the studio or in the practice space; so much of it is the product of solo time with one’s instrument, learning how body and wood and electronics fuse, and of subconscious processes as one lives one’s daily life—picking up the ambient noise of the world outside, listening to others’ work, talking through ideas with friends. For Kim and Bill, time together these days is limited to live performances and recording, so they’ve got to bring all their magic to every encounter. Lucky for us, these are two experimental sorcerers of significant renown. Their debut album together as Body/Head, Coming Apart, from 2013, was more of a rock record—heavy, emotional, cathartic, spellwork in shades of black and grey. The Switch is their second studio full-length, and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document No Waves), but much of it happened purely in the moment. Working in the same studio and with the same producer as Coming Apart, here Body/Head stretch out, making spacious pieces that build shivering drones, dissonant interplay, Gordon’s manipulated vocals, and scraping, haunting textures into something that feels both delicate and dangerous. Less discrete songs than one composition broken up into thematic movements, a slow-moving narrative that requires as much attention and care from the listener as it did from everyone involved in its creation, it is a record that sticks around after it’s done playing. This is Nace’s favorite of Gordon’s guitar work; she’s truly come into her own as a guitarist, having built up her confidence through solo shows. The way the duo work together, you’d never know they spend so much time apart; on The Switch, their vision and focus feel truly unified. If Coming Apart was dark magic, The Switch works with light, though it never forgets that these approaches are two sides of the same coin, and that binaries—black/white, near/far, emotion/analysis, body/head—are made to be broken open, and that the truth of things is in the energy between. “Tenuously and perfectly balanced between experimental challenge and punk efficiency.” - Pitchfork “All sorts of wild, enthralling noises with little more than a pair of guitars and some amplifiers.” - The New York Times “Their minimalist drones evoking the tumultuous inner spaces of the heart and the mind”. - SPIN
Ten years after Mamma Mia! The Movie grossed more than $600 million around the world, fans are invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA. With the film’s original cast returning and new additions including Lilly James and Academy Award® winner Cher, the musical comedy will open on July 20, 2018. Original ABBA member Benny Andersson produced and arranged the upcoming soundtrack.
Still Run is the new album from Brooklyn, NY based alternative band Wet, and is the follow up to the band’s critically acclaimed debut album Don’t You from 2016.
Still Run shows Wet with a more upbeat and pop driven sound than their debut. The band’s new sound and new outlook, is informed by lead singer and songwriter Kelly Zutrau taking more creative control of the project. Much of Wet's shift stems from Zutrau's more forceful vocals, which allow her direct, yet poetic lyrics to resonate more deeply, and which leap out of the sunnier production. Producers like Rostam (Haim, Solange), Andrew Sarlo (Big Thief), and John Hill (Santigold, M.I.A.) assisted primary producer and Wet band member Joe Valle, who brings a new comfort level to his production style, presenting dark lyrics in a brighter way that highlights their innate intensity and lets Zutrau's songwriting shine. "There are a million ways to make a good song sound good," she says. "But what matters to me most in the end are the vocal, and the songwriting, and whatever serves those best."
Wet is recognized for their deeply-hued emotional pop, well documented by the New York Times, Spin, and NPR among many others. Rolling Stone noted that Wet “set themselves apart with music that combines the elegant ache of Nineties R&B with the raw honesty of indie pop…”. Still Run is a testament to taking that control and pursuing one's artistic vision—and it also shows how any hiccups that might crop up along the way can make the vision's eventual realization more satisfying.
Birds In Row are a melodic/abrasive band from Laval, France. Blurring the lines between hardcore, punk, and related sub-genres, Birds In Row offer something of substantial weight to their listeners. Collectively carrying somber hearts and poignant souls, they navigate through melancholic seas to shape beautifully hook-laden songs unlike anything else out there today. “We Already Lost the World” is their latest, a stunning nine song album that blends post punk and angular rock influences into something emotional and electric. Recorded and mixed by Amaury Sauve at The Apiary, and mastered by Thibault Chaumont at Deviant Lab.
The Rolling Stones’ No Security tour ran from January to June 1999 through North America and Europe. It followed on from the colossal Bridges To Babylon tour and took its name from the “No Security” live album recorded on that 1997/98 tour. In reaction to the huge stadiums played on Bridges To Babylon the conscious decision was made to book smaller venues for the initial North American leg of the No Security tour. This latest addition to the acclaimed From The Vaults series was filmed at the San Jose Arena in front of an audience of a little over 30,000 (intimate by Rolling Stones standards!) at the end of the North American dates. Previously unreleased, it captures the band in top form playing a set that spans from mid-sixties hit singles up to the then current Bridges To Babylon album.
Line-Up Mick Jagger (vocals, guitar, harmonica); Keith Richards (guitar, vocals); Charlie Watts (drums); Ronnie Wood (guitar) With: Darryl Jones (bass, backing vocals); Chuck Leavell (keyboards, backing vocals); Bobby Keys (saxophone); Tim Ries (saxophone, keyboards); Michael Davis (trombone); Kent Smith (trumpet); Lisa Fischer (backing vocals); Bernard Fowler (backing vocals, percussion); Blondie Chaplin (backing vocals, percussion, acoustic guitar)
The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson s father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin
The seven-track release from the rapper was streamed live from Wyoming and featured guest appearances from 070 Shake, DeJ Loaf, Jeremih, Kid Cudi, John Legend, Nicki Minaj, PARTYNEXTDOOR, Ty Dolla $ign, Valee and Charlie Wilson.
Ty Segall and White Fence are AS ONE again. Six years after their fun favorite "Hair" collaboration, and jeez, almost four years after Ty produced the last White Fence record "For the Recently Found Innocent", they're back at it. But the second time around, it's no Hair 2 - Joy is its own reward. Tim Presley and Ty take it up a notch, with fifteen wild tracks that share space in a effortless fashion, dispersing doses of the fabled vintage obsessions, but threading them together instead with their own sound of today. Joy, indeed!
Home and the people who make it have captivated Lori McKenna for years. Over the last three decades, as she became a wife and mother of five, she has also emerged as one of the most respected, prolific singer-songwriters in popular music. Her 2016 release The Bird and the Rifle netted three Grammy nominations, along with Americana Music Association nods all firsts for McKenna as an artist. Then, she made history: In 2016, she became the first woman ever to win the Country Music Association s Song of the Year two years in a row thanks to co-writing Little Big Town s Girl Crush and penning Tim McGraw s no. 1 Humble and Kind solo. Both songs also clinched back-to-back Grammy wins for Best Country Song. In 2017, she became the Academy of Country Music s first female Songwriter of the Year. The Tree is her much-anticipated eleventh studio album. Produced by Dave Cobb, The Tree takes one of McKenna s signature themes family and builds a tapestry of experiences she has lived and overheard, been told and dreamed up, to create a stunning ode to life s defining relationships.
HIVE MIND is the new album from THE INTERNET, and is the follow up to 2015's critically acclaimed and Grammy nominated album Ego Death. With this new album, THE INTERNET present enormous growth in their creative chemistry and prove they are a five-person force whose singular talents created one phenomenal whole. The album is written and produced entirely by THE INTERNET - Syd (vocalist/songwriter), Matt Martians (producer), Steve Lacy (guitarist/vocalist/songwriter), Patrick Paige II (songwriter/bassist), and Christopher Smith (songwriter/drummer). And it is with a sense of togetherness - not just for them, but for everyone - that the band chose to highlight as a major theme for Hive Mind. "After making a few songs we realized that we really want to use this album to live by example and promote camaraderie amongst young black people," Syd reveals. "We realized that we're the only band of our kind. And we want to really solidify ourselves as that, as the best." With the chaos of the current world considered, all of THE INTERNET wanted to champion good feelings and the joy of following your heart and passions, in addition to using their own positive relationships and experiences to inspire their community. The band unearthed an even deeper purpose as they collaborated on HIVE MIND. The result is not just one of the greatest records in the band s already phenomenal catalogue, but is easily one of the best albums of 2018, from five amazing people already leaving an indelible mark on pop music.
NAV to release CD of new album, RECKLESS, via XO Records / Republic Records on 7/20. RECKLESS includes his platinum-certified single 'Wanted You (feat. Lil Uzi Vert)' in addition to his previously released track 'Freshman List.' NAV supported the album with an extensive headlining tour. His current single 'Champion (feat. Travis Scott)' will impact Urban and Rhythmic radio on 6/26.
Punch Brothers return with All Ashore, their first album since 2015's The Phosphorescent Blues. The band wrote all nine songs on the album, which they self-produced and recorded in Los Angeles. "It's a meditation on committed relationships in the present day," says Chris Thile, "particularly in the present climate."
77:78 is the new project from Aaron Fletcher and Tim Parkin, card carrying members of the musical kaleidoscope that is The Bees. Crate diggers and music nuts, 77:78's music possesses snatches of the fried, post-sandbox loveliness of The Beach Boys Smiley Smile, the clatter of King Tubby's junkyard dub, the childlike playfulness of early Syd Barret and a gentle seabreeze of sublime West Coast harmonies. Their debut album, Jellies, sounds like staying up late with a friend who's playing you all the best bits of their mind-blowing record.
1,2 Kung Fu is the debut album from Boy Azooga, the psych-flecked musical vehicle for Cardiff's Davey Newington. This multifarious musical mission takes inspiration from the likes of Sly & The Family Stone, Caribou, Black Sabbath, Outkast, Van McCoy, Ty Segall and The Beastie Boys. Boy Azooga are a reverent ensemble churning out rave-tinged rock that hints at a progeny of both Can and the Happy Mondays. Limited Edition Pink Vinyl
Meshing explosive indie rock with the raw passion of punk and the melodic sophistication of pop, Ume are an acclaimed Austin-based band who've earned a following for their powerful live performances and clever music. They have played major festivals like ACL and Rock En Seine and appeared on Anthony Bourdain’s No Reservations. Other Nature was recorded with Grammy-winning producer Stuart Sikes. Single will be worked at college, AAA/non-comm radio. US tour dates this summer. LP is standard weight, translucent green vinyl.
Reprise Recordswill releaseAn American Treasure—a career-spanningTom Pettybox set.The 60-track set unveils dozens of previously unreleased recordings, alternate versions of classic songs, rarities, historic live performances and deep tracks that spotlight Tom’s remarkable depth and evolution as a revered and tremendously influential songwriter, recording artist and performer.An American Treasuremarks the first release of Tom Petty music since the artist’s tragic passing in October 2017.
An American Treasure: Standard Edition-A 2-CD set that features26 career spanning trackschosen from the Deluxe editions, as well as Bud Scoppa's detailed track-by-track.
DAVID BOWIE: 4. LOVING THE ALIEN (1983-1988) is the fourth boxed set spanning his career from 1969 and the follow-up to the awarding winning and critically acclaimed DAVID BOWIE: 1.FIVE YEARS (1969 – 1973), DAVID BOWIE: 2. WHO CAN I BE NOW? (1974 – 1976) and DAVID BOWIE: 3. A NEW CAREER IN A NEW TOWN (1977 – 1982).
DAVID BOWIE: 4. LOVING THE ALIEN (1983-1988) features material officially released by David Bowie between 1983 and 1988 including newly remastered studio albums ‘Let’s Dance’ (remaster overseen by Nile Rodgers), ‘Tonight’ (remaster overseen by Hugh Padgham) and ‘Never Let Me Down’, the live albums ‘Serious Moonlight’ from 1983 (previously unreleased) and ‘Glass Spider’from 1987, and the exclusive new compilation ‘RE:CALL 4’ featuring single versions and edits, soundtrack music and non-album B-sides.
Also included exclusively is a brand 2018 version of the 1987 album ‘Never Let Me Down’ co-produced and mixed by Mario McNulty. David had already discussed this in 2008 with Mario McNulty so ‘Never Let Me Down (2018)’ is a much darker album with additional production by Mario and new live drums by Sterling Campbell, new guitars by Reeve Gabrels and David Torn plus a string quartet. The album will also feature new artwork with photography from the original session by Greg Gorman.
The album ‘Dance’ was scheduled for 1985 but was never released and never will be, however we have used the artwork for ‘Dance’ for this set for an album which contains 12 original extended remixes from across the three studio albums plus ‘Underground’.
Redemption is Joe Bonamassa's 13th solo studio album and third in a row of all original material and sees him at his most ambitious and diverse yet as he continues to redefine and push the barriers of blues-rock. It features a collection of 12 exhilarating songs that reflect the re-birth that he is currently going through. You see the real shades of light and dark, for every trip into the tender depths of emotion there are some glorious hip shaking moments of joy and all the while accompanied by supreme musicianship and Bonamassa’s masterful and rich guitar playing. With 20 #1 Blues Albums on the Billboard Chart, Joe is an unrivaled guitar prowess and a once in a lifetime artist that has an insatiable desire to push himself to his best potential on every level. 2LP is 180g black vinyl and includes a download card.
Multi-platinum award-winning singer/songwriter and global superstar Josh Groban releases his 8th studio album entitled, Bridges, on Sept 21st via Reprise Records. Recorded in Los Angeles, London and New York with multiple producers including Bernie Herms and Toby Gad, Steve Jordan, Dan Huff, and others. This album also finds Josh singing in multiple different languages that include English, French, Italian and Spanish. There will also be a couple of exciting duets, to be announced at a later date. The album will also be available as a Deluxe, which will include two bonus tracks. This is Groban's first album with original music since the 2013 massively successful Stages. Bridges is available for pre-order now and fans who pre-order the album will receive three instant grat downloads of new songs including: the new single, "Granted," along with songs "Symphony" and "S'il Suffisait D'Aimer."
Multi-platinum, Grammy-Award nominated artist Ariana Grande to release highly-anticipated album, 'Sweetener,' via Republic Records on 8/17. Album includes smash hit, 'no tears left to cry,' which closed out the US Top 40 radio panel week-of impact and made Ariana the first artist to kick-off four album campaigns with a Top 10 debut on the Billboard Hot 100 chart. The pre-order will launch with new track 'the light is coming (feat. Nicki Minaj).' Ariana Grande will support the album with numerous media appearances.
Thank You for Today, Death Cab for Cutie's ninth studio album, was produced and mixed by Rich Costey (Fiona Apple, Franz Ferdinand, Muse), who also produced the band's last album the GRAMMY® nominated Kintsugi. Thank You for Today marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab's touring band since 2015. Death Cab for Cutie will celebrate their new album with a much anticipated fall tour. Check out the single "Gold Rush"
JUNO nominated, Polaris Prize shortlisted Great Lake Swimmers frontman Tony Dekker set out to specifically make an album without any acoustic guitar. Recorded in the 145 year old Bishop Cronyn Memorial Church in London, Ontario and produced by Chris Stringer (The Wooden Sky, Elliot Brood, Timber Timbre), "The Waves, the Wake" releases on August 17, 2018 via Nettwerk.
IL DIVO has evolved into the pre-eminent tenor powerhouse vocal group with over 30 million albums sold, 160 gold and platinum albums in 33 countries to their credit and are the most commercially successful classical crossover group in international music history, as per Guinness World Records. To celebrate their 15th Anniversary, Il Divo releases TIMELESS on August 2018. The songs are a classic mix of favorite pop and traditional standards in four languages including “Hola,”a Spanish version of Adele’s hit song, John Legend’s “All Of Me,” Robbie William’s “Angels,” Natalie Cole’s “Unforgettable,” Louis Armstrong’s “What A Wondeful World,” and many more.
Blue October's 9th album is possibly the best album the band has ever recorded. 11 beautifully crafted and performed songs that showcases the band at its creative best. The first Blue October album produced solely by Justin Furstenfeld. His musical genius shines brighter than ever before.
Debut EP from Pale Waves. They are first set to appear at Lollapalooza and Outside Lands Festival and join CHVRCHES for a handful of arena shows throughout August. Over the summer they’ll tour Australia and Japan, while continuing to build on their success back home with appearances at Reading and Leeds Festivals, British Summer Time where they’ll share the stage with The Cure and a sold-out show at London’s Heaven. Their debut album MY MIND MAKES NOISES is set for release on 9/14.
Limited edition red vinyl pressing of the bloody good soundtrack to vampire thriller Sunset Society, starring Motörhead's Lemmy! Includes tracks by Lemmy, The 69 Eyes' vocalist Jyrki 69, Ratt's Stephen Pearcy, Thor and more PLUS a special original track by Die Krupps' Jürgen Engler and Hawkwind's Simon House! The film, which also stars Hollywood icons Tracii Guns (of L.A. Guns) and Dizzy Reed (of Guns N' Roses) will be stalking theaters and home video in July!
The breakout success of 2016’s Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who’ve historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.” We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. “With a lot of the romantic infatuations I’ve had,” she says, “when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy gure that I so desire.” In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.
A previously unheard home studio cassette recording of Prince performing at his piano in 1983 will be released as Piano & A Microphone on Sept. 21. The nine-track, 35-minute project from the Prince Estate in coordination with Warner Bros. Records is planned for what would have been the rock icon's 60th birthday.
This rare, intimate glimpse finds Prince working through songs including "17 Days" and "Purple Rain" (which would both be released the following year), a cover of Joni Mitchell's "A Case of You," "Strange Relationship" (issued in 1987 on the Sign O' The Times album) and "International Lover," as well as a rare recording of the pre-Civil War spiritual "Mary Don't You Weep," which will be heard on the end credits of Spike Lee's upcoming film BlacKkKlansman, due out in August.
The rarities collection Death Trippin’ At Sunrise: Rarities, B-Sides & Flexi-discs is packed with music originally released on singles, flexis, and various compilations, and includes their Sub Pop single “Drug Machine In Heaven” b/w “Strychnine/Peace, Love And Understanding” and a cover of “After The Gold Rush” from a 1989 Neil Young tribute album. A number of tracks on the rarities compilation are making their first appearance on vinyl.
Richard Thompsons new album, 13 Rivers, is the artists first self-produced record in over a decade. 13 Rivers is a very stripped down, bare-bones recording and according to Thompson the album is a reflection of current events that have happened in his life. This has been an intense year for myself and my family, getting older doesnt mean that life gets easier! There are surprises around every bend.
I think this reflects in the immediacy of the stories, and the passion in the songs. Sometimes I am speaking directly about events, at other times songs are an imaginative spin on what life throws at you. The music is just a mirror to life, but we try to polish that mirror as brightly as possible. The album was recorded at Boulevard Recording in Los Angeles, California. 13 Rivers features Richards regular accompanists, Michael Jerome and Taras Prodaniuk, as well as Thompsons guitar tech, Bobby Eichorn, on second guitar.
Each track on the album was recorded in analog, with minimal overdubbing. Boulevard is a really funky-looking studio, says Richard, but it sounds great. It used to be called The Producers Workshop, and was owned by Liberace, whose ghost is reportedly still hanging around. Steely Dan records were done there, and The Wall by Pink Floyd was mixed there. Clay Blair, the engineer, is a Beatles nut, and has every piece of Beatles gear he can lay his hands on - so if things sound a bit like Abbey Road, so be it!
13 Rivers consists of thirteen tracks. It is an album as much about growth as it is about reflection. Says Thompson, I dont know how the creative process works - I suppose it is some kind of bizarre parallel existence to my own life. I often look at a finished song and wonder what the hell is going on inside me. We sequenced the weird stuff at the front of the record, and the tracks to grind your soul into submission.
The Doors released their third studio album, Waiting For The Sun, in July 1968. It was the band's third platinum album in less than two years, and the first to top the album chart. Since its debut, the album has sold millions of copies around the globe and contributed to the Doors' legendary canon with classics like "The Unknown Soldier," "Five To One" and the #1 smash, "Hello, I Love You."
Rhino will commemorate the 50th anniversary of the album this year with WAITING FOR THE SUN: 50th ANNIVERSARY DELUXE EDITION. This 2-CD/1-LP collection features a new version of the album's original stereo mix on both CD and 180-gram vinyl LP, which has been newly remastered from the original master tapes by Bruce Botnick, the Doors' longtime engineer/mixer. The set also includes a second disc of 14 completely unreleased tracks: nine recently discovered "rough mixes" from the album recording sessions and five live songs from a 1968 Copenhagen show.
My Way, Willie Nelson's new studio album, explores his admiration and connection to Frank Sinatra's art and artistry across 11 fresh, intoxicating takes on songs made famous by the Chairman of the Board. Recorded in the tradition of 1978s legendary Stardust and 2016s Grammy Award-winning Summertime: Willie Nelson Sings Gershwin, My Way is a warm and personal nod from one icon to another. Included are Willie's takes on timeless tunes like "Summer Wind," "It Was A Very Good Year," "I'll Be Around," "Fly Me To The Moon," "What Is This Thing Called Love" (cast as a duet with fellow Grammy winner Norah Jones) and, of course, the anthemic "My Way." Add Willie's stalwart backing band plus lush arrangements for full string and horn sections - all produced by Grammy winners Buddy Cannon and Matt Rollings - and you've got an album that's as cool as it gets.