Critically acclaimed soundtrack to Bo Burnham's Netflix musical comedy special INSIDE. Double vinyl LP features all the music from INSIDE, including “All Eyes On Me”, “Welcome To The Internet” and “Bezos I”. Shot and performed by Bo Burnham, alone, over the course of a very unusual year. Nominated for 6 Emmys including best variety series, writing, directing, song, musical direction, and editing. Standard weight black vinyl in gatefold packaging.
Frank Zappa's "200 Motels" turns 50! In celebration of FZ's famous 1971 "Surrealistic Documentary," Zappa Records, UMe, and MGM are pleased to present the original soundtrack newly remastered by the legendary Bernie Grundman at Bernie Grundman Mastering, and featuring all original packaging including the booklet and mini-replica movie poster. Pressed on 180-gram heavy vinyl 2 LP by Optimal Media in Germany.
On her first-ever holiday album For Christmas, Grammy Award-winning singer/songwriter Amanda Shires invites the world into a fantastically warped wonderland of her own making. Though there’s flying reindeer and fallen tinsel and angels serenely plucking harps, Shires’s finespun storytelling sheds light on the kind of holiday experiences and emotions that often go ignored in Christmas songs: the family drama and forced cheer, burnt-out frustration and elaborate fantasies of escaping off to some far-away tropical island. Mostly made up of original material from the Texas-bred musician, the album unfolds in a selection of piano songs touched with the timeless charm of Brill Building pop—a lovely setting for the luminous vocal presence she’s brought to a series of acclaimed solo albums and to her role as a member of The Highwomen. Revealing an entirely new side of Shires’s idiosyncratic mind, the result belongs to that rare breed of holiday music that feels undeniably resonant at any season of the year.
The follow-up to 2018’s critically lauded To The Sunset, For Christmas marks the realization of a longtime dream for Shires. “I’ve always wanted to make a record that’s true to what Christmas is like for me, and all the mixed emotions that come with it,” she says. “There’s the happiness of being with family, and then the reality that getting a bunch of your family members in the same room is maybe never a great idea. I’m one of those hopeless-romantic types, so there’s the romance and beauty of Christmas but also the sadness, especially when not everybody you’re used to having around gets to be there anymore. There’s a lot of nostalgia in these songs, but there’s a lot of reality too.”
Produced by Lawrence Rothman and recorded live at Sound Emporium Studios in her homebase of Nashville, For Christmas finds Shires working with bassist Jimbo Hart (her bandmate in Jason Isbell’s 400 Unit), pianist Peter Levin (a jazz musician she met while touring with The Gregg Allman Band), guitarist Pat Buchanan (Dolly Parton, The Chicks), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams). Over the course of four hot days in July, Shires and her collaborators laid down the album’s nine original songs and two covers (including Frank Loesser’s “What Are You Doing New Year’s Eve?” and a darkly charged reimagining of “Silent Night”), infusing every track with the unbridled joy of the recording sessions. “We ate a ton of donuts and all wore Christmas hats, and the place was decked out in all these Christmas lights,” recalls Shires, who played fiddle and violin on For Christmas. “It’s hard to be in the studio sometimes, but everybody brought so much fun and humanity to the whole thing.”
Throughout For Christmas, Shires leads her audience on a whirlwind journey through the chaos of holidays, often spiking her nuanced reflection with a bit of goofball humor (“The pressure’s different when you’re writing Christmas songs as opposed to confessional songs or protest songs—there’s a chance to bring some comedy, and get more punny than normal,” she notes). Along the way, Shires presents such gems as “Blame It on the Mistletoe,” a tribute to the dizzying bliss of falling in love at holiday time (sample lyric: “I admit I was feeling a little ho-ho-hopeless/Thinking this crush was just one-sided”). One of several tracks featuring legendary gospel quartet The McCrary Sisters, the sublimely offbeat “Gone for Christmas” slinks along in a Grinch-inspired groove as Shires shares a litany of less-than-orthodox holiday wishes (“I want a date with Larry David/I want Costa Rica or the Caymans/And I want you gone for Christmas”). And on “Always Christmas Around Here,” For Christmas closes out with a riotously true-to-life portrait of the holiday’s aftermath (“A mess in the living room/There’s a wine all over the couch/My sisters aren’t speaking/Who’s crying now?”). “That song was my favorite to put together,” Shires points out. “John Prine had passed away not too long before, and he loved Christmas—he always had a Christmas tree up everywhere, even in the studio. I was thinking about all the problems that come with the holidays, and how difficult families can be, and I know I wrote a song he would say was pretty great.”
Elsewhere on For Christmas, Shires channels everything from lustful whimsy (“A Real Tree This Year”) to glorious catharsis (“Let’s Get Away”) to heavy-hearted longing (on the quietly devastating “Slow Falling Snow”). “What I wanted to do with this record was capture all of my feelings about Christmas, and I’ve still got more feelings to go—it’s so fun I might do it again,” says Shires. “I hope it helps people know that all the feelings are okay, that it’s all right to feel down on Christmas when there’s so much celebrating going on around you. And at the same time I just wanted to give everyone some Christmas songs they haven’t already heard 200,000 times before, and hopefully get them all to sing along.”
Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA.
In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten.
“We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” -FUZZ
Global superstar Demi Lovato has released their highly anticipated seventh album Dancing With The Devil… The Art Of Starting Over (Island Records). The album serves as a companion piece to Lovato’s YouTube Originals documentary, Demi Lovato: Dancing with the Devil. Together the album and documentary see Demi sharing the story of their near fatal overdose in 2018 for the first time, as well as giving a glimpse into their life today and their path to healing. The deeply personal album is executive produced by Lovato and their manager, Scooter Braun.
Illumination, Universal Pictures & Republic Records announce SING 2 (Original Motion Picture Soundtrack) releasing 12/17. It accompanies the new chapter in Illumination’s animated franchise, SING 2, hitting theaters on 12/22. The soundtrack includes a new U2 track & Bono makes his animated film debut as the voice of Clay. The soundtrack also includes tracks from Halsey, Pharrell, Anitta & Billie Eilish, with performances by cast members Tori Kelly, Scarlett Johansson, Reese Witherspoon, & more.
Sometimes, the best place to begin is at the end. If you really want to dig deep into Illusory Walls, the fourth album by THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE, it definitely helps to do that. That’s because epic closer “Fewer Afraid”—all 19 minutes, 44 seconds of it—doesn’t just revisit the themes and ideas on the ten songs that precede it, but also offers a self-aware summary of the Connecticut band’s entire history. It’s the conclusion of all the stories within the record as well as a nod to all the lives that helped make them—little glimpses of everything that’s come before, on both a micro, immediate level, and a more universal one. “That song is a higher level look at my whole life and the whole world,” explains vocalist/guitarist David F. Bello, “as well as the album, our band and our discography. It places the band in the context of the rest of the world, as if we’re listening to everything that came before. It touches on all the themes of the previous songs, but there are also callbacks to songs from earlier in our career. But in this song, they’re the object, not the subject—I’m talking about a world in which these things happen, not talking about these things happening.”
Due to the coronavirus pandemic, the band—completed by Steven K. Buttery (drums and percussion), Joshua Cyr (bass/vocals) and Katie Dvorak (vocals/synth)—had nothing but time to realize the full extent of their musical and thematic aspirations. And so, four years on from lauded third album Always Foreign, they were able to make what is undoubtedly the band’s most ambitious and epic record to date. Written and recorded remotely—a first for the band—Illusory Walls takes on the weight of human existence while it’s buckling under the pressure of today’s near-dystopian society. Personal anxieties and political struggles collide with a series of portentous, apocalyptic and dramatic tunes, resulting in some of the darkest music the band has made since forming in 2009.
2021 marks the 20th anniversary of Shakira’s hit crossover album, Laundry Service. Originally released on November 13th 2001, The album was written and produced by Shakira and features the #1 single, “Suerte/Whenever, Wherever,” “Objection (Tango),” and “Underneath Your Clothes.” To commemorate its 20th year, the LP will be reissued on an exclusive opaque yellow vinyl.
After 10 years, one of the greatest trilogies in hip-hop gets its final chapter. Kid Cudi unveils his anxiously awaited 7th full-length studio album and the 3rd installment of his legendary Man On The Moon series, Man On The Moon III: The Chosen out on Republic Records. Cudi has returned with 18 new songs, such as “Show Out” feat. Pop Smoke and Skepta, “Lovin’ Me” feat. Phoebe Bridgers, and “Rockstar Knights” feat. Trippie Redd. 2 LP.
Originally released digitally in celebration of the 5th anniversary of his first Bobby Tarantino mixtape, GRAMMY-nominated, multiplatinum artist Logic brings a new chapter on BOBBY TARANTINO III, releasing on CD on December 17, 2021. Consisting of a 5-week campaign of Friday advance track releases including "Vaccine," "Get Up," "My Way," and "Call Me." The original Bobby Tarantino mixtape, released in July 2016, rose to #2 on both the Billboard Top Rap Albums and Top R&B/Hip-Hop Albums charts.
Nils Frahm’s double album 'Old Friends New Friends' gathers together 23 solo piano tracks recorded between 2009 and 2021, almost all hitherto unreleased but omitted from previous albums and projects for one reason or another.
The album was pieced together during the pandemic as Frahm used the time to arrange his archives, conscious of the sheer number of recordings he’d accumulated. Having selected his favourites, he realised how, when he listened to them together, they offered “a different spectrum of freedom for me. I forgot that some tracks are ten years old, some two, and they’re all played on different pianos. Instead I remembered how, as a fan, I love albums like this. With a lot of my records there’s a point where you feel, ‘This is the centrepiece,’ but here I wasn’t really worrying about that. It still feels like my universe, though, and I’m proud that all these things which I never found a way to unite before now work together. It’s like I tossed flowers indiscriminately into a vase and then realised it looked exactly right.”
The 140g vinyl records come housed in a single-pocket cardboard jacket, and protected by premium anti-static inner sleeves.
SAVE FACE are a band who have always prided themselves on taking risks and the New Jersey band have doubled down on that sentiment with their sophomore album, Another Kill For The Highlight Reel.
Another Kill For The Highlight Reel, which features indelibly human performances, including a guest appearance from Thursday’s Geoff Rickly on “A.M. Gothic”. “There’s something about the New Jersey kinship [between Geoff and I] that really resonates with me,” Tyler Povanda explains. “New Jersey’s music scene is really something special.”
Musically, the album—which was produced by the Movielife’s Brett Romnes—sees Povanda taking influence from his Jersey brethren like Thursday but adds a theatrical twist. “‘GLITTER’ was the first song I wrote that ended up being on this album and it bridges the gap between Merci and Another Kill For The Highlight Reel, ” Povanda says. “I think that song serves as a cool sonic metaphor for the transformation of the band. I would say this album isn’t narrative in the same way as the last one, but it does feel much more immersive.”
The Muslims formed in 2017, brought together by the aftermath of the 2016 election. They have since released three albums The Muslims (2018), Mayo Supreme (2019), Gentrified Chicken (2020), and one EP Inshallah: Tomorrow We Inherit the Earth (2020). The all-queer, black & brown Muslim punk band unapologetically use music as a vessel to call out racism, the American political landscape, and white supremacy. The Muslims have a lot to say and they aren't afraid of hurting any feelings in the process.
The band's upcoming album, F*** These F***in Fascists, is the ultimate sing-along anthem against all forms of oppression. It's the perfect balance of humor, tenderness and political rage, wrapped in affirmations for oppressed peoples. Musically, the band continues to bring dynamic melodies to the foundation of classic punk riffs, sprinkled with out-of-this-world rhythmic outbursts. F*** These F***in Fascists is easily the punk album of the decade that will definitely make your grandparents cry. The Muslims are QADR (vocals/guitar), Abu Shea (bass), and Ba7Ba7 (drums).
The best of three Madison Square Garden shows (September 18-20, 1990) on a two-CD set? Yes, please! Actually, Road Trips Vol. 2 No. 1 is almost all drawn from the 19th and 20th, but you don't want to miss the September 18th encore performance of 'Knockin' on Heaven's Door,' an especially moving rendition given keyboardist Brent Mydland's death two months earlier. This is the tour when both ex-Tubes member Vince Welnick (on electric keyboards) and Bruce Hornsby (on grand piano) ably stepped into the gap left by Mydland, and propelled the band to new heights. A rare '90s 'Dark Star,' a second set 'Let It Grow' that goes off in new and fascinating directions, though Dick's Picks Vol. 9 came from the same set of MSG shows (September 16, to be exact), many folks feel these dates were superior. Peak '90s Dead! Disc One September 20, 1990 1. Truckin’ 2. China Cat Sunflower 3. I Know You Rider September 19, 1990 4. Playing in the Band 5. Ship of Fools 6. Playing in the Band 7. Uncle John’s Band 8. Let it Grow 9. Jam Disc Two September 20, 1990 1. Jam 2. Dark Star 3. Playing in the Band 4. Dark Star 5. Throwing Stones 6. Touch of Grey 7. Turn On Your Love Light September 18, 1990 8. Knockin’ on Heaven’s Door
Feid - "INTER SHIBUYA - LA MAFIA" New vinyl from FEID, one of the most prominent Columbian voices that have been making waves with his unique and authentic style. FEID always puts an authentic stamp on his music, giving his lyrics, rhythms, and sound purpose. He has achieved multi-platinum certifications and has 8 million monthly listeners on Spotify. The 15-track album includes "Chimbita," "Fumeteo," "Badwine," "Purrito Apa," and many more. He has worked with heavy hitters Daddy Yankee, Nicky Jam, J Balvin, among others
Chuck Berry, the songwriter and guitarist now known worldwide as the Father of Rock & Roll, came from humble beginnings. After an evening in 1996 spent reminiscing about his storied career with his longtime friend Joe Edwards, owner of St. Louis restaurant and venue Blueberry Hill, Berry fulfilled the dream of music lovers everywhere; he started a live residency that spanned 209 shows at the 340-person capacity club. The club became a modern-day Mecca for rock fans, and a once-in-a-lifetime opportunity to see the legend perform up close and personal. Live From Blueberry Hill compiles some of Berry's greatest hits from this epic run of shows played alongside his fantastic band - including his son Charles Berry Jr. and daughter Ingrid Berry.
Wes Anderson's THE FRENCH DISPATCH brings to life a collection of stories from the final issue of an American magazine published in the fictional 20th-century French city of Ennui-sur-Blase. With an all-star cast that includes Benicio Del Toro, Adrien Brody, Tilda Swinton, Lea Seydoux, Frances McDormand, Timothee Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray and Owen Wilson, this vibrant film is a funny, moving celebration of journalism.
Featuring a diverse and spectacular cast of collaborators, "The Atlas Underground Flood" is a treasure trove of creativity, spanning many genres. The album is the surprise sister record released on the heels of "The Atlas Underground Fire”. “Fire” and “Flood” are a continuation of the Rage Against The Machine guitarist’s groundbreaking 2018 album, “The Atlas Underground.” Morello’s insane guitar playing is on full display taking the instrument into the future and forging an alternative/rock/EDM masterpiece with heavy metal legends, punk icons and cutting edge firebrands.
Sony Masterworks and Milan Records present the full and complete version of ANNETTE, LEOS CARAX’s new movie, based on an original idea and music by SPARKS.
Great success of the 74th edition of the Cannes Festival, the film won best soundtrack and best director awards.
Based on an original story and music by Ron and Russell Mael, the brothers behind the flamboyant band SPARKS, ANNETTE began life as an (unreleased) album but was transformed into a musical after they met Leos Carax. Having successfully maintained a five-decade-long career as one of the world’s most innovative and creative bands, it comes as no surprise that their collaboration with the visionary French director has resulted in a unique piece of film-making.
The original soundtrack to ANNETTE, with lyrics co-written by SPARKS and LEOS CARAX and music composed and performed by SPARKS, features vocals from the stars of the film: Adam Driver (Henry), Marion Cotillard (Ann) and Simon Helberg (The Conductor). Produced by Sparks and entirely supervised by Leos Carax himself, the soundtrack unveils itself in its new UNLIMITED EDITION : a version that includes all the music of the film in a magnificent double CD containing no less than 63 tracks (!) including 6 demos and unreleased tracks used during the conception of the film as exclusive bonus. A 28-pages booklet containing all the lyrics of the songs perfectly completes this collector version.
Dive inside ANNETTE’s universe and (re)live all the emotion of Leos Carax’s last masterpiece.
About ANNETTE: Present-day Los Angeles. Henry is an outspoken stand-up comedian, Ann a world-famous singer. They’re a happy celebrity couple, living life in the glare of the spotlight, but their world is turned upside-down by the birth of their first child, Annette, a mysterious little girl with an exceptional destiny.
TOY was recorded following David's triumphant Glastonbury 2000 performance. Bowie entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971. David planned to record the album ‘old school’ with the band playing live, choose the best takes and then release it as soon as humanly possible in a remarkably prescient manner. Unfortunately, in 2001 the concept of the ‘surprise drop’ album release and the technology to support it were still quite a few years off, making it impossible to release TOY, as the album was now named, out to fans as instantly as David wanted. In the interim, David did what he did best; he moved on to something new, which began with a handful of new songs from the same sessions and ultimately became the album HEATHEN, released in 2002 and now acknowledged as one of his finest moments.
The 1976 Warner Bros Motion Picture “Sparkle” features a soundtrack created by two Soul giants – Aretha and Curtis. Whilst the movie stars - Irene Cara and Lonette McKee (primarily) - sang the songs on the film, “Sparkle (Music From The Warner Bros. Motion Picture)'' features the Queen of Soul herself 'Aretha Franklin', accompanied by composer and producer Curtis Mayfield recorded at his Curtom studio in Chicago. It will be pressed on LP - for the first time since its original release in 1976 - on a Crystal Clear vinyl. SIDE A 01 Sparkle 02 Something He Can Feel 03 Hooked on Your Love 04 Look into Your Heart SIDE B 01 I Get High 02 Jump To It 03 Loving You Baby 04 Rock with Me
2015 marks a-ha's 30th Anniversary of their debut album Hunting High And Low, which has sold more than 10 million copies since its 1985 debut A-ha (stylized a--ha) is a Norweigian band formed in 1982. The group initially rose to fame during the mid-1980s after being discovered by musician and producer John Ratcliff, and had continued global success in the 1990s and 2000s. The band has sold more than 100 million records worldwide (till 2009). In less than one year, during 2010, they earned an estimated 500 million Norwegian Kroner from concert tickets, merchandise, and their greatest hits album, making them one of the 40-50 largest grossing bands in the world. Side A 01 Take on Me 02 Train of Thought 03 Hunting High and Low 04 The Blue Sky 05 Living a Boy's Adventure Tale Side B 01 The Sun Always Shines on T.V. 02 And You Tell Me 03 Love Is Reason 04 I Dream Myself Alive 05 Here I Stand and Face the Rain
The Tea Party (1991) is the first album by the Canadian rock group, The Tea Party. Originally recorded as a demo, the album includes newly remixed and remastered audio from the band's own Stuart Chatwood, as well as new artwork and liner notes. The 2 CD set includes the newly remastered audio, the original audio, and 2 bonus demo tracks from same time period.
Iconic pianist/composer Fred Hersch was an early adopter of new technologies and new ways forward when the pandemic hit in early 2020. But he's also been among the most eager to return to live performance and collaboration now that life has begun to resume some semblance of normality. In August he returned to the studio to record one of his most ambitious projects to date: Breath By Breath, his first album ever pairing jazz rhythm section with string quartet. Breath By Breath draws inspiration from the pianist's longtime practice of mindfulness meditation, centered on the new eight-movement "Sati Suite." But while the album is certainly contemplative and lustrous, it's far from being merely an ambient backdrop for blissful relaxation - the music on Breath By Breath is as fully engaged and emotionally rich as any that Hersch has made over the course of his remarkable career.
Jelly Roll, the giant underground genre-bending singer/songwriter/rapper today released a new album Ballads of the Broken, ahead of his sold-out show at the iconic Ryman Auditorium. In celebration of the new record
With their brand new and now fourth studio album, progressive metal elemental force Wilderun have managed to deliver an equally timeless and epic masterpiece. Epigone stretches to a total of over an hour of listening experience and makes the hearts of all fans of Opeth, Haken and Devin Townsend beat faster. On their new longplayer, the hottest contenders for the prog metal throne traverse a variety of musical extremes, such as epic orchestral passages followed by hard guitar riffs, leaving nothing to be desired.
Discover is the new album by Zuccerho "Sugar" Fornaciari. It is the first covers album of his career. For the occasion, he has stripped and restyled in his own iconic view, Italian and international music masterpieces. Leading into the release of the project will be the single "Follow you follow me," an engaging reinterpretation of one of the first great worldwide Genesis hits. The album includes collaborations with Bono, Elisa, Mahmood and Fabrizio De Andre.
The marriage of Princess Diana (Kristen Stewart) and Prince Charles (Jack Farthing) has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate. But this year, things will be profoundly different.
SPENCER is an imagining of what might have happened during those few fateful days.
COBRA KAI takes place over 30 years after the events of the 1984 All Valley Karate Tournament with the continuation of the inescapable conflict between Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka). Season Three finds everyone reeling in the aftermath of the violent high school brawl between their dojos, which has left Miguel in a precarious condition. While Daniel searches for answers in his past and Johnny seeks redemption, Kreese further manipulates his vulnerable students with his own vision of dominance. The soul of the Valley is at stake, and the fate of every student and sensei hangs in the balance.
From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the center of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover), but ultimately finding power in themselves.
For two decades now, Greensky Bluegrass has been building an empire, brick by brick. Their eighth studio release, Stress Dreams was produced by Dominic Davis (Jack White) and Grammy winning engineer/producer Glenn Brown amidst the 2020 pandemic. It follows their 2019 release, All for Money, which landed on the Top 100 at the Billboard Albums Chart, Top 20 at Independent Albums and Current Country Albums, Top 10 at Americana/Folk Albums Top 5 at Heatseekers, and #1 at Bluegrass Albums. Greensky is widely known for their dazzling live performances and relentless touring schedule. As with traditional bluegrass, the band writes about their own contemporary day-to-day happenings, emotions, and experiences in the modern world. Their die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.
John Mellencamp’s 25th studio album, Strictly A One-Eyed Jack, is set for release 1/21/22 on Republic Records. The album was written and produced by Mellencamp, recorded at his Belmont Mall Studios in Indiana, and recorded/mixed by GRAMMY-award winner David Leonard. It features a number of longtime band members including Andy York, Dane Clark, Mike Wanchic, Troye Kinnett, and more. It also features three collaborations with Bruce Springsteen including the landmark duet “Wasted Days.”
Originally released in 1996, Come Find Yourself is the debut album by New York's finest, Fun Lovin' Criminals. Spending nearly 4 years in the UK album chart, it's packed with instant classics such as "The Fun Lovin' Criminal", "King Of New York", an inspired cover of the Hal David/ John Barry Bond movie theme "We Have All the Time In the World", not forgetting the Tarantino infused smash "Scooby Snacks". This 25th anniversary edition is presented as heavyweight coloured double vinyl for the first time and features 4 bonus tracks.
A series of inspired encounters between creative forces from various worlds of sound and vision has resulted in “Hunter’s Moon,” the infectious first new track from GHOST in 2 years accompanied by phantasmagoric video directed by Amanda Demme, and featured in the newest installment of the blockbuster horror film franchise, Halloween Kills.
Single sleeve jacket with spine, standard gloss finish, white paper inner sleeve, standard weight, vinyl with small hole, and John Carpenter “Halloween Kills (Main Title)” b-side.
Written partially in Nashville and partially in the Compton house Keb’ grew up in, Good To Be… weaves together past and present into a heartwarming tapestry spanning more than forty years of sonic evolution. Joined by a variety of collaborators, including country legend Vince Gill, famed producer Tom Hambridge (B.B. King, Buddy Guy), Darius Rucker, Kristin Chenoweth, and Old Crow Medicine Show, Good To Be…is a deeply cohesive and optimistic collection of music about appreciating what you’ve got, where you come from, and who you get to share it with.
Written and recorded over the past year, Penny and Sparrow’s remarkable new album, Olly Olly, is a work of liberation and revelation, a full-throated embrace of the self from a band that’s committed to leaving no stone unturned in their tireless quest for actualization. The songs here are fearless and introspective, embracing growth and change as they reckon with desire, intimacy, doubt, and regret, and the arrangements are similarly bold and thoughtful, augmenting the duo’s rich, hypnotic brand of chamber folk with electronic flourishes and R&B grooves. The duo—Andy Baxter and Kyle Jahnke—produced Olly Olly themselves, working on their own without an outside collaborator for the first time, and the result is the purest, most authentic act of artistic self-expression the pair have ever achieved.
“Andy and I talk about the process of making this record like a sort of musical Rumspringa,” Jahnke says. “It was an opportunity to truly become ourselves, to evolve outside of the roles we’d been put in—or put ourselves in—because of the way we’d grown up.”
Texas natives Baxter and Jahnke first crossed paths at UT Austin, where they developed a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter, an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of Bon Iver, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” The duo’s most recent album, 2019’s Finch, marked a turning point in their career, pushing their sound to experimental new heights as it wrestled with notions of masculinity and religion and transformation in deeper, more personal ways than ever before. The record debuted at #2 on the Billboard Heatseekers Chart and was met with a rapturous response from critics and audiences alike, racking up more than 40 million streams on Spotify and earning the band their biggest headline tour to date.
Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it’s quite an accomplishment.Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut home-base. With this amount of effort it’s no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.
On Little Green House, Anxious explores what itf eels like to enter adulthood in unflinching detail.The Connecticut band unpacks struggles, joys, and hard-earned realizations in a way that makes them feel wise beyond their years. Anthemic songs like lead single “In April” and guaranteed sing-along “Growing Up Song” thread the often difficult melodic-hardcore needle in a way that feels both nostalgic for the emo renaissance of yesteryear and precisely built for the current moment of genre defiant pioneering.
One of the most striking and strangely moving moments onJake Xerxes Fussell’s gorgeous Good and Green Again—an album, his fourth and most recent, replete with such dazzling moments—arrives at its very end, with the brief words to the final song “Washing-ton.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded.
The song provides an apt metaphor for the record as a whole and for Fussell’s artistic process itself. He appropriated the text from an early 20th century hooked rug by an anonymous Virginian artist depicting exactly what its red-stitched all-caps headline text and caption declares: Mount Vernon, a horse, a cherry tree, and the big man himself, cartoonishly grimacing (or is it wryly grinning? there’s not much mouth, just a red-thread wrinkle). George sits cross-legged in foppish leggings and slippers on a blue bestarred chair, with a perfect arch of snow-white wig haloed around his noble head. The rendering of this folk-art artifact ignores perspective and punctuation: every object in the lineup is the same size, and the list of the General’s stuff includes no commas or line breaks, a kind of accidental concrete poem that democratizes the supposedly great democratizer, reducing him to the same prosaic level as his diminutive crib, his prancing pony, and his tart cherries (maybe he is grimacing after all). The image may have been intended as a tribute, maybe even a reverent one—if we forget the fact that it’s a rug, and that we’re meant to walk all over it—but it hits as satire in its contemporary context, like a textile version of one of those all-caps cat caption memes. (I CAN HAZ CHERRIES?) The “noblest of men” looks a bit pathetic here, a little childish with his big-boy toys, a little goofy and alone—a little like how the rest of us often feel.
(Now, Jake is certainly no apologist for George Washington, nor for the myriad atrocities of American history, but he recognizes the deep wells of American song are filled from headwaters both fresh and vile. Within its ambiguities, “Washington” is, for Fussell, a placid protest song that elevates an artist and her rug above a general in his splendor. It’s a fragment of the broken ways we speak about history and power, a satirical shard sent to pierce and deflate our pernicious, endlessly regurgitated national mythologies. As such, it’s adeeply sad song. It’s not the only one here.)
Fussell carefully considers such contradictions in his studious choice of songs. He’s distinguished himself as one of his generation’s preeminent interpreters of traditional (and not so traditional) “folk” songs, a practice which he approaches with a refreshingly unfussy lack of nostalgia and preciousness, utterly devoid of folkie cosplay. By re-contextualizing ancient vernacular songs and sources of theAmerican South, he allows them to breathe and speak for themselves and for himself; he alternately inhabits them and allows them to inhabit him. His mesmerizing performances reveal the beauty of calling things by their true names, of coaxing old texts and recordings gently through the telescope of time, thereby transmuting them, through his own ineffable alchemy, into something approachably intimate and immediately relevant, something both his and ours.
In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-play-ing—here he plays more acoustic than ever before—pull new valences of meaning from ostensibly antique songs and subjects. What’s different about “Washington” is that it’s one of four original compositions on the album—the others are the three instrumentals—a career first for Fussell, who has heretofore been content to remain a vitreous vessel for existing, often anonymous, songs. On Good and Green Again, Jake not only ventures beyond his established mastery of song catching and song making into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in theNatural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension, honed from collaborations with artists such as Michael Chapman, Steve Gunn, Joan Shelley, Richard Thompson, and Jeff Tweedy. Jake knew after a 2018 Midwestern tour together that he wanted to work with Jim, appreciating his open ears, unorthodox influences, and flexibility in following instincts.
The pair enlisted a group of formidable players hailing from Durham,North Carolina (where Fussell lives) and elsewhere, including regular band members Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun ,Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals.
Together this crew is uncannily able to pinpoint that magical place on Jake’s musical map where melancholy, quietude, and head-nodding, foot-stomping joy commingle and transcend—places like, on previous albums, “Raggy Levy,” “Jump for Joy,” and “The River St. Johns.” Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy) rings that bell with an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory—and a captain’s inevitable betrayal. It’s a rejoinder to “Love Farewell”’s naïve cheer in the face of imminent violence.
If overallGood and Green Again sounds a little sadder and slower than Fussell’s past records, well, maybe we’re all a little sadder and slower these days. A smoldering mood of regret and loss pervades, a distinct vibe of vanitas. But three airy instrumentals, all Fussell originals—“Frolic,” “What Did the Hen Duck Say to the Drake?,” and “In Florida”—punctuate the program, offering respite and light in the form of crisp, shuffling play-party tunes, each in turn somewhat more hopeful and exuberant than the last. Their resemblance to lullabies is, perhaps, not coincidental. Fussell and his partner welcomed their first child into the world during the making of Good and Green Again. These lovely songs bear that promise in letters of bright gold.
Optimism is the debut album from Jana Horn of Austin, Texas. Originally self-released in a small vinyl edition, now widely available. Horn says the LP, "seemed to come about indirectly, almost in passing, a feeling of being in-between things. I was really mobile at that time, living wherever... I had just discovered, late, Raymond Carver, Broadcast, Sybil Baier, Annette Peacock, Richard & Linda Thompson, a short story called “Car Crash While Hitchhiking” by Denis Johnson. I had “Heart Needs a Home” in mind, “The Great Valerio;” I was just really moving through the world, hanging in the shadows of the people I wanted to be. Hoping, looking out, this is Optimism. I was looking for anything."
Six months on from the release of their critically-acclaimed fourth album, ENTERTAINMENT, DEATH,Philadelphia trio SPIRIT OF THE BEEHIVE closeout 2021 with brand new 7” THE DOOR, comprising two previously-heard but never physically released songs in “THE DOOR IS OPEN” and “THE DOOR IS CLOSING”.
A special and limited release, 500 copies of the single have been pressed on cloudy teal vinyl. The 7” is led by “THE DOOR IS OPEN”, a 2020 single that marked a new chapter for the band ahead of the release ofENTERTAINMENT, DEATH. The song “continues to defy definition”, Stereogum said upon its initial release, before adding: “It’s amazing that they made such a short track feel like such a dreamy journey.”
It’s backed by “THE DOOR IS CLOSING”, a bright and skewed gem of a track that was originally released earlier this year via Through The Soil, a charity compilation that benefited the NAMI COVID-19 Mental Health Support Fund.
Whether opened or closed, THE DOOR is a bold reminder of SPIRIT OF THE BEEHIVE’S many layered and colourful ideas. It also ribbon-ties a brilliant 2021 for the band, one which saw ENTERTAINMENT, DEATHlabelled as “an intensely beautiful, intensely difficult record” by Pitchfork, a “sprawling odyssey of haunting dissonance and blissful euphoria” by Flood Magazine, and a "storm of sound with a deep humanity coming through” by Fader.
SPIRIT OF THE BEEHIVE is Zack Schwartz, Rivka Ravede and Corey Wichlin.
Equally upbeat and mellow, Hayes writes clever songs that mirror his brand and artistry of unconventional, unique country music. Following the high from scoring his first No. 1 with hit song “Fancy Like,” Hayes’ latest album is a continuation of that success; a medley of beatboxing, sing-rapping, and witty lyrics with refreshing and vulnerable honesty that solidifies his place as a top-notch, one-of-a-kind player in the country music scene. After a long journey of fighting tooth and nail to make it in Nashville, but always sticking to his true self, Hayes’ record tells reminiscent stories of trials and triumphs of following a dream and trying to be better every day, with refreshing, catchy tunes about love and life mixed in that you can’t resist singing along to.
Sunset Motel is the second full-length album from Columbus, OH based garage rockers El Camino Acid. The album was recorded in July of 2020 in Chicago, IL and produced by Colin Croom of Twin Peaks. The album is a thoughtful and versatile blend of alternative rock and power pop. The songs span a large dynamic range, from mid-tempo love songs to guitar-fueled head bangers.
The Waterboys 1990 album 'Room to Roam' was the bands fifth album. It continued the Folk-Rock sound of 1988's Fisherman's Blues and was recorded at Spiddal House in Galway, where the last recording sessions from the preceding album, Fisherman's Blues, had been recorded. Room to Roam would be the last of The Waterboys' Folk-rock sound until the release of Universal Hall in 2003. Fiddler Steve Wickham, who had been a large inspiration for the change to that sound for Fisherman's Blues, left the band shortly before Room to Roam was released. This new vinyl has been produced to compliment The Magnificent Seven CD/DVD/Book box set. Mastered for Half-speed and cut by Miles Showell at Abbey Road and made into a double album running at 45rpm. The original artwork has been presented in a new 5mm wide spine sleeve, polyline inners and insert.
Brian Fennell is a self-taught producer, programmer and engineer as well as guitarist, percussionist and classically trained pianist with deep roots in the Pacific Northwest. Since Syml's debut in 2016, Brian Fennell has risen to prominence with an acclaimed body of work celebrated for it's honest songwriting exploring themes of longing and loss, amassing over one billion streams across all platforms.
LP 1 SIDE A 01 Hello Texas - By Urban Cowboy Soundtrack 02 All Night Long - By Joe Walsh 03 Times Like These - By Dan Fogelberg 04 Nine Tonight - By Bob Seger & The Silver Bullet Band SIDE B 01 Stand by Me - By Mickey Gilley 02 Cherokee Fiddle - By Johnny Lee 03 Could I Have This Dance - By Anne Murray 04 Lyin' Eyes (2005 Remaster) - By Eagles LP2 SIDE A 01 Lookin' for Love - By Johnny Lee 02 Don't It Make Ya Wanna Dance - By Bonnie Raitt 03 The Devil Went Down to Georgia - By Charlie Daniels Band 04 Here Comes the Hurt Again - By Micky Gilley 05 Orange Blossom Special / Hoedown - By Gilley's Urban Cowboy Band SIDE B 01 Love the World Away - By Kenny Rogers 02 Falling in Love for the Night - By Charlie Daniels Band 03 Darlin' - By Bonnie Raitt 04 Look What You've Done to Me - By Boz Scaggs 05 Hearts Against the Wind - By Linda Ronstadt
Ignited the punk-rock movement with their eponymous 1976 debut album, revitalizing rock and roll at one of its lowest ebbs with attitude, energy and a loud, fast new sound. By cutting music down to its bare essentials – four chords; a simple, catchy melody; a sped up tempo and irresistibly inane lyrics, the Ramones blazed the trail for thousands of bands that followed, influencing everyone from The Clash and The Sex Pistols to Green Day and The Offspring. Although The Ramones never achieved mainstream financial success, they released 21 live and studio albums, had a devoted fan base and were inducted into the Rock & Roll Hall of Fame in 2002. Side A 01 Cretin Hop (2017 Remaster) 02 Rockaway Beach (2017 Remaster) 03 Here Today, Gone Tomorrow (2017 Remaster) 04 Locket Love (2017 Remaster) 05 I Don't Care (2017 Remaster) 06 Sheena Is a Punk Rocker (2017 Remaster) 07 We're a Happy Family (2017 Remaster) Side B 01 Teenage Lobotomy (2017 Remaster) 02 Do You Wanna Dance? (2017 Remaster) 03 I Wanna Be Well (2017 Remaster) 04 I Can't Give You Anything (2017 Remaster) 05 Ramona (2017 Remaster) 06 Surfin' Bird (2017 Remaster) 07 Why Is It Always This Way? (2017 Remaster)
$ (Original Motion Picture Soundtrack) is the soundtrack to the 1971 movie of the same name. The soundtrack was composed and produced by Jazz legend Quincy Jones and includes performances from Roberta Flack, Little Richard and Doug Kershaw. This version will be the first repressing since 2002, and will be pressed the color of money on mint green vinyl. SIDE A 01 Money Is (feat. Little Richard) 02 Snow Creatures 03 Rubber Ducky 04 Redeye Runnin' Train (feat. Doug Kershaw) 05 Shady Lady 06 Money Runner 07 When You're Smiling (The Whole World Smiles with You) [feat. Roberta Flack with the Don Elliott Voic SIDE B 01 Do It - To It! (feat. Little Richard) 02 Candy Man 03 Passin' the Buck 04 Kitty with the Bent Frame 05 Brooks' 50c Tour (Main Title Collage) [feat. Little Richard and Roberta Flack]
Formed in 1973, the British hard rock outfit Bad Company was a supergroup comprised of ex-King Crimson bassist Boz Burrell, former Mott the Hoople guitarist Mick Ralphs, and singer Paul Rodgers and drummer Simon Kirke, both previous members of Free. Powered by Rodgers' muscular vocals and Ralphs' blues-based guitar work, Bad Company was the first group signed to Led Zeppelin's Swan Song vanity label. Bad Company's eponymous 1974 debut was an international hit, topping the U.S. album charts and scoring with the #1 single ''Can't Get Enough of Your Love.'' SIDE A 01 Can't Get Enough (Single Edit) [2015 Remaster] 02 Bad Company (2015 Remaster) 03 Movin' On (2015 Remaster) 04 Ready for Love (2015 Remaster) 05 Easy on My Soul SIDE B 01 Good Lovin' Gone Bad (2015 Remaster) 02 Feel like Makin' Love (2015 Remaster) 03 Shooting Star (2015 Remaster) 04 Weep No More (2015 Remaster) LP2 SIDE A 01 See the Sunlight 02 Live for the Music (2015 Remaster) 03 Simple Man (2015 Remaster) 04 Honey Child (2015 Remaster) 05 Run with the Pack (Single Edit) [2015 Remaster] SIDE B 01 Burnin' Sky (2015 Remaster) 02 Rock 'n' Roll Fantasy (2015 Remaster) 03 Rhythm Machine (2015 Remaster) 04 Gone, Gone, Gone (2015 Remaster) 05 Electricland (Single Edit) [2015 Remaster]
In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, NO. The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album “Interlude” with anticipation of a follow-up. The follow-up comes with W the band’s debut album for their new label Sacred Bones Records. The record opens with the same melody as “Interlude” in a piece titled “I want to go to the side where you can touch...” and in contrast to the extreme sounds found on NO, this new album whispers into the listener’s ear with a trembling hazy sound meant to awaken sensation. On all of W Wata carries the lead vocal duties. In general, the styles on the album range from noise to new age, as is typical with one of our generation’s most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell. NO and W weave together to form NOW, a duo of releases that respond to one another. In following their hardest album with this sensuous thundering masterpiece, they are creating a continuous circle of harshness and healing, one that seems more relevant now than ever and shows the band operating at an apex of their musical career.
THE MAGNIFICENT SEVEN The Waterboys Fisherman's Blue/Room To Roam band 1989-90 is a new 145 track 5CD/1DVD box set box set and book which tells the story of the seven piece line up from the Fisherman's Blues 1989 tour through to the release of the bands 5th album, Room to Roam in 1990. As well as the remastered Room To Roam album, this set contains 80+ previously unreleased tracks over 4CDs packed from demos, unreleased studio tracks, live and informal jams/sessions. The DVD contains two complete 1989 audience films of Glastonbury Festival and Milan, home movies and professional footage at Spiddal House during the making of Room To Roam, plus films shot on Waterboys visits to Spiddal in 2010 and 2012. Also includes is a 240p book containing a 50,000 word narrative by Mike Scott telling the full story of the Waterboys seven-piece band, a collection of previously unseen photos, track notes by all band members, maps, lyrics, manuscripts, and other archival memorabilia.This is Super Deluxe box set is packaged in a rigid slipcase (approx. 288 x 255mm), hard back folder containing 6 discs and the hardback book.
Blade Runner Black Lotus (Original Television Soundtrack) is a dynamic multi-genre album with global appeal that soundtracks each episode of the 13-part series. The album boasts tracks from Alessia Cara, 070 Shake, 6lack, Iann Dior, and more across a variety of genres. Part of the American neo-noir science fiction media franchise originating from the 1968 novel Do Androids Dream of Electric Sheep? Blade Runner Black Lotus makes history as the 1st female-led character in the franchise. Green LP.
Carly Pearce expands her critically acclaimed 29 into the full-blown album/song cycle 29: Written In Stone. In classic Carly style, she captures the kind of true Country that’s become the bellwether for the two-time ACM and CMA Awards winner, developing the straightforward emotions and classic sounds that have rapidly defined one of the genre’s most important voices.2 LP. Gatefold Jacket.
In spite of the various crises that have occurred since 2017’s Native Invader, Tori Amos has emerged with Ocean to Ocean, her most personal work in years — an album bursting with warmth and connection, with deep roots in her earliest song writing. Written during the third lockdown in Cornwall this year, Ocean to Ocean is a universal story of going to rock bottom and renewing yourself all over again.
Bad Suns sound - dreamy '80s pastiche flanked by Stratocasters through cranked Vox amps, pulsing synths, and palpable rhythmic energy - that endeared listeners to the band in the first place, and their fourth LP, APOCALYPSE WHENEVER, uses that musical foundation as the jumping-off point for their next evolution. Conceived as "the soundtrack to a movie that doesn't yet exist," the 13-track album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his Palmquist Studios and the band's North Hollywood rehearsal spot, is more conceptually rigorous than anything they've ever attempted - but no less compelling or accessible. "We also knew we wanted the album to have a through-line, a story from beginning to end," frontman Christo Bowman explains, so the band did what any good directors would: They assembled a mood board, filtering their neo-noir version of Los Angeles through the dreamlike haziness of author Haruki Murakami, the futuristic flair of Terminator 2: Judgment Day and Blade Runner, and the lifted cinematography of Spike Jonze's HER. These disparate influences don't just offer APOCALYPSE WHENEVER an expanded palette of sonic choices to color Bad Sun's airtight hooks - they help give the songs an emotional complexity that works on a multitude of levels depending on how listeners choose to receive them.
A fever dream in sonic form, The Alien Coast is the first album St. Paul & The Broken Bones recorded in their hometown of Birmingham. Produced by Matt Ross-Spang (Drive-By Truckers, Margo Price) - the bands fourth full-length is a dizzying convergence of rock & roll and R&B, psychedelia and stoner metal, gospel and jazz-funk. At turns explosive, elegant, and thrillingly unhinged - it makes for a majestic backdrop to the groups visceral exploration of the strangest dimensions of the human psyche.
Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released thirteen studio albums since their 1996 debut, Beautiful Freak. During the height of the pandemic lockdown in early 2021, E got an out of the blue message from Mark Romanek, director of the first Eels video, "Novocaine For the Soul". It triggered him to reach out to John Parish, who was in between numerous projects and immediately got to work in his HonorSound studio in Bristol and began sending ideas to E. "I'd sneak out of bed at 4 in the morning to hear the latest thing John had sent, and try to add my part to it and get it back to him quickly before my 4 year old son woke up," E says. The resulting album is Extreme Witchcraft.
Eric D. Johnson, the creative force behind Fruit Bats, doesn't spend a lot of time looking in the rearview mirror. But with the 20th anniversary of his first Fruit Bats release (2001's Echolocation) on his mind, it seemed as good a time as any to take stock of his work-and he's doing so in the form of Sometimes a Cloud Is Just a Cloud: Slow Growers, Sleeper Hits and Lost Songs (2001-2021), a two-disc collection that tracks the history of Fruit Bats from it's earliest days to right now. Thoughtfully compiled by Johnson himself, this set is split in two distinct halves. Set in reverse chronological order, the first disc cherry-picks from Fruit Bats' official releases, including fan favorites-"Humbug Mountain Song" from 2016's Absolute Loser and "The Bottom of It" from his 2019 Merge debut Gold Past Life-alongside some of Johnson's more personal choices like "Glass in Your Feet" from Echolocation.
On Spectrums, Odonis Odonis showcase the extreme ends of their musical margins. Embracing a love of ‘80s goth and darkwave melodicism while maintaining an industrial strength intensity, the dualities of their sound are revealed in a striking new light. With four albums under their belts, the Toronto-based duo of Dean Tzenos and Denholm Whale have always followed creative impulses wherever they might take them. Yet while tracing their earliest experiments with surf-rock and shoegaze into more recent dabblings in abrasive EBM, they have never sounded as sonically boundless as this compilation of tracks.
Beyond their recorded output, Odonis Odonis have earned a reputation for the ferocity of their live performances, combining cathartic aggression with danceable beats set to pulsating strobe lights and the addition of live drummer Phil Wilson. Their 2017 album No Pop was described by Pitchfork as “ claustrophobic electronic music that sounds like the end of the world ,” while they have earned praise from influential sources such as NPR, FADER, Stereogum, and The Needle Drop.
Odonis Odonis began as a solo recording outlet for Tzenos in 2010 before evolving into a noisy rock band formation. They have now stripped down to a core duo as the project celebrates a decade of activity. The social limitations of the pandemic found the pair of multi-instrumentalist producers forced to work completely from home for the first time, challenging themselves to step outside of the box and create music they may have shied away from in the past. Tzenos describes their newfound process as cherry-picking elements from the angry and occasionally antisocial sound of past releases, but applying an extroverted approach.
“This project is the start of the third chapter of the band's evolution,” says Tzenos. “I still feel like we have a lot more to explore musically and writing these songs lit the spark for a lot of new directions. The idea of doing something poppy is a stark contrast to our last record, but as long as the project remains fun and experimental it will keep growing. We’re more like the weird goth kids in the back of the club now.”
Big Crown Records is proud to present Piece of Me, the sophomore full length offering from Lady Wray. This is something of a homecoming for Nicole. Where her 2016 solo debut Queen Alone leaned more towards Soul and R&B with tinges of hip-hop, this record changes the mixture. It's still R&B with the textures of analog Soul, but there is a heavy Hip Hop influence that brings the sum of Nicole's career together in a new sound that will dene her future. Boom-bap drums and chunky bass lines are front-and-center creating a perfect head-nodding backdrop for Lady Wray to take on the good, the bad, the difficult, and the joyful on her most personal collection of songs to date.
The title track, "Piece of Me," which has already become a classic since it's 2019 release is about the people in your life who need more than you are willing to give. This tune and the B side of the 7” “Come On In” were the first songs put to tape for this album and they were recorded with Nicole sitting in a chair 8 months pregnant with her daughter. Her voice is so powerful, so raw, so thorough on these initial songs—it's wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take.Long time collaborator and producer Leon Michels keeps the musical backing restrained and expertly executed, setting up Lady Wray for the full spotlight and setting the tone for the rest of the album.
While the upbeat energies of “Under The Sun” and “Through It All” are sure to become hits that reconnect Lady Wray with her 90s R&B fanbase, “Where Were You” offers a behind the scenes look at what those days of stardom in her youth were really like. Nicole takes on the racial tension in America with her poetic and powerful “Beauty In The Fire” and leans heavy into her faith and church upbringing on the showstopper, “Thank You”. She gushes about the profound love she’s come to know for her daughter on “Melody” and celebrates life’s ups and downs on “Joy & Pain”. In 2021 it is rare to hear a varied yet cohesive album with no “skippers”, but that is what you have herein spades. The tried and true chemistry between Lady Wray and Leon Michels has undeniably found a higher level and this album stands as a testament to conviction and dedication for all of us to enjoy and be inspired by.
With this in mind, when talking about this record, for Lady Wray, it's about a larger purpose. "My goal is always to help and to heal people with singing," she explains. "Part of that is to try and bring back real music, real singing, so people can feel something again." Now, she's not dissing anyone here, to be clear. It's just that Lady Wray cannot sing without tapping into something deeper, searching for that shared compassion between all of us. Perhaps it comes from her church upbringing, or maybe from her years of trials and tribulations in the music industry. Either way, Lady Wray is looking to bring that "Good Sound" back and the good feelings that come with it. She calls it "those inner hands," and she always means to stir them up, grabbing your attention from within.
A brand new album of brand-new songs from the No. 1 R&B Group of All Time, The Temptations. Features tracks written and produced by Narada Michael Walden, the young hip-hop producer K. Sparks, longtime group member Ron Tyson, founding member Otis Williams, and the equally legendary Smokey Robinson, whose classic songs launched the group’s original hit streak. The new album release will coincide with Otis Williams’s 80thbirthday, and the Broadway return (and road show edition) of the hit musical, Ain’t Too Proud: The Life and Times of The Temptations.
Richer Than I Ever Been is Rick Ross’ eleventh studio album and oozes the kind of diamond-encrusted lyrical opulence that made him one of the greatest of this generation. The GRAMMY®Award-nominated multiplatinum superstar, two-time New York Times-Bestselling author, and business magnate makes everything feel “rich,” eclipsing material wealth and hinting at a much more substantive spirit. Guest features include Wale, Future, 21 Savage and Wiz Khalifa among others. The deluxe 15 track version of the album features three additional songs:“Revelations,” “Vacheron” featuring AZ, and “Not For Nothing” featuring Anderson .Paak.
Cast your mind back to notable landmarks of 1992. Outside the Twin Cities, Mall of America opened to the public. Frank Gehry’s enormous golden fish sculpture, El Peix, welcomed Barcelona Olympians. And The House of Tomorrow, a four-song 7-inch on a small indie label, ushered in a new era for the Magnetic Fields. Never before released as a 12-inch, this 30th anniversary remastered edition includes the additional track "Alien Being" plus a vinyl etching on side B.
Illumination, Universal Pictures & Republic Records announce SING 2 (Original Motion Picture Soundtrack) releasing 12/17. It accompanies the new chapter in Illumination’s animated franchise, SING 2, hitting theaters on 12/22. The soundtrack includes a new U2 track & Bono makes his animated film debut as the voice of Clay. The soundtrack also includes tracks from Halsey, Pharrell, Anitta & Billie Eilish, with performances by cast members Tori Kelly, Scarlett Johansson, Reese Witherspoon, & more.
InsideOutMusic/Sony Music are set to release the new studio album from progressive rock legends Jethro Tull. 'The Zealot Gene' is the bands first new studio album in nearly 20 years. With more than 30 albums to their credit and sales totaling more than 50 million, Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Ian Anderson, Tull still continues to tour throughout the world, entertaining audiences of all ages.
After 10 years in Nashville, 2 No. 1 Country albums and several hundred thousand miles playing shows, Aaron Lewis recognizes the part of America that no one is speaking to – or for. FRAYED AT BOTH ENDS is his measure of the wages of being a grown-up in today’s world, an American in a nation torn apart and a man seeking love and redemption in the words of his songs.
JJ Shurbet's debut studio album as Scruffpuppie and first for Phoebe Bridgers' Saddest Factory Records is letters to nobody: a record of self-determination, of hard-won confidence and contrition, of clarified spirit and abundant mind. Drawing from midwest emo as much as it does Elliott Smith, classic indie, and hyperpop, the album, produced by Phoebe Bridgers collaborator Marshall Vore, establishes JJ as a unique songwriter with agnosticism towards genre but total devotion to pop songcraft - a musical polymath whose only guiding light is her own truth. Accordingly, letters to nobody is something to hold onto: a cropped, high-detail portrait of a turbulent adolescence, to be sure, but also a lifeline - a buoy in high water and a much-needed icon of brightness.After spending the first 12-odd years of her life in Texas, JJ and her family moved to Georgia; a year after that, Utah. By the time she moved to Utah, JJ's world opened up. She began to foster a love of film and music became a significant part of her life, first as she played songs in bands with her schoolmates, and then as she started to write music for her short films, that she would record directly into iMovie. Slowly, JJ started to post videos of herself playing songs on YouTube with her videos frequently garnering over 100K views, with some of them reaching over 3M or 4M. At 16, she quit her job and started focusing on music. She released Zombie Boy, her debut project, on Bandcamp, and found that people were willing to listen beyond YouTube.Around the same time she was becoming known for her YouTube videos, JJ began experimenting with drugs. After a while, figuring that drugs could fuel her creativity and songwriting, she began using acid excessively and taking speed whenever she could all with the reasoning that it helped her creativity. Amidst it all, Scruffpuppie began to take off. Things began to spiral, eventually coming to a head in the moment immortalized in the intro track, "the morning where I woke and rode again." JJ entered rehab, and, while there, began to sketch out the beginnings of letters to nobody - if not exactly an album about the experience of going into rehab, then at least one wrought from the clarity it gave JJ.There is no single song that defines letters to nobody - it's an album that reveals itself to a listener over time, a portrait that appears deeper, more ineffably heart-rending, the more you look at it. It's a testament to the way art can act not just as a product, but as a tool of self-expression and healing - as something that can make any ending seem like a bright new beginning.
Run the Jewels, the super dynamic duo of EI-P and Killer Mike, two of the most distinctive and celebrated names in rap brought you Run the Jewels 2 on mass Appeal records in 2014. The immensely anticipated album includes guests ranging from Zack de la Rocha to Travis Barker amongst others, but the duo maintains that the album is first and foremost about the creative partnership between the MC's themselves.
After making tsunami level waves in the industry after his 6 track appearance on Dr. Dre’s latest album, Compton–Los Angeles’s Anderson .Paak returns with his brand new LP, Malibu. After a whirlwind of press, accolades, performances and studio sessions with greats, Anderson .Paak took all those experiences and stirred them into his pot to formulate the silky-smooth Malibu album. The follow-up to 2014’s Venice features appearances from The Game, ScHoolboy Q, Talib Kweli, Rapsody, and BJ The Chicago Kid. The sonic backdrop to the album was provided by some of today’s hottest producers from 9th Wonder, Kaytranada, Madlib, Hi-Tek, RobertGlasper, DJ Khalil and more. With the good Dr.’s co-sign, Anderson’s talent, and his captivating live show, Malibu is sure to make Anderson .Paak a household name very soon.
Take That Back is the dynamic debut by the inventive Midwest jazz quintet led by veteran composers/saxophonists Joan Hutton and Sue Orfield. The album draws on its leaders’ passion for original music and their mutual joy in pursuing unpredictable musical adventures.
**Please note this is a split 12" with a different artist on each side**
Debut release by World Domination Records contains unreleased remixes by Genesis P-Orridge (Psychic TV/Throbbing Gristle) and David J. (Bauhaus/Love and Rockets) of two of NYC's hidden gem groups of the early 2000s, Rise NYC and Binary Starr System.
The 5th Dimension’s “Greatest Hits On Earth” is being issued, featuring 11 of their most beloved hits including “Last Night I Didn’t Get To Sleep At all,” “Aquarius/Let The Sunshine In,” “One Less Bell To Answer” and more!
ALPHA is an eleven-song project of metaphor and earnest declarations, recollecting Charlotte’s inner struggles of love, growing, and breaking that she’s finally speaking to in a greater way. Self produced, the album shines a light on her prodigious skills of which are deeply admired by her peers including Toronto’s jazz-funk trio BADBADNOTGOOD, Mustafa, Syd and Daniel Caesar who all appear on ALPHA. Charlotte has continued to make wonders with the ALPHA era showcasing her impressive instrumental repertoire of guitar, bass, drum pad, and piano talent.
‘Requiem’ follows Korn’s critically acclaimed 2019 release, ‘The Nothing’. Korn changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger cultural moment. The band have continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.
Give Me The Future, Bastille’s wildly-ambitious new album, is a tribute to tech times and a glimpse of what could be to come. Exploring both the opportunities of new technology and the dark side of lives lived online, it’s as playful as it is thought-provoking, as dystopian as it is dancefloor-friendly and as electronic as Bastille have ever been. Executive produced by Ryan Tedder, Give Me The Future by Bastille will release on February 4, 2022.
Following the eclectic charm and intimacy of 1970's solo McCartney and 1971's homespun lo-fi indie-pop progenitor RAM credited to Paul and Linda McCartney, Wild Life found Paul once again redefining his post-Beatles creative identity, this time beginning his tenure as a founding member of Wings. A rollicking left turn from its predecessors, Wild Life was recorded in barely more than a week, with more than half of the songs captured in a single take. The end result would be eight songs running the gamut from joyous freewheeling jams to proto-chamber pop to spare introspective musings — all bristling with a raw, jagged energy akin to the grungiest of garage bands—whether on the careening blues-rock rave-up of opener "Mumbo," a reggae-tinged reimagining of Mickey & Sylvia's "Love Is Strange," or the plaintive and heart wrenching ballad "Dear Friend."
Black Country, New Road will release the second album, 'Ants From Up There' on February 4th via Ninja Tune. Following on almost exactly a year to the day from the release of their acclaimed debut 'For the first time', the band have harnessed the momentum from that record and run full pelt into their second, with 'Ants From Up There' managing to strike a skilful balance between feeling like a bold stylistic overhaul of what came before, as well as a natural progression. Their debut 'For the first time' is a certain 2021 Album of the Year, having received ecstatic reviews from publications including as NPR, Stereogum, Pitchfork, The FADER, CRACK, Uncut, The Quietus, Loud & Quiet, The Face, Paste, The Needle Drop, DIY, NME, CLASH and fans alike, as well as recently being shortlisted for the UK's prestigious Mercury Music Prize. The album made a significant dent on the UK Albums Chart where it landed at #4 in its first week, as well as breaking into multiple Billboard Charts including Top Album Sales (#50), Current Album Sales (#26), Tastemaker Albums (#4), Heatseeker Albums (#15) and Emerging Artists (#22). 'For the first time' melded klezmer, post-rock, indie and an often intense spoken word delivery. On 'Ants From Up There' they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
Time Skiffs’ nine songs are love letters, distress signals, en plein air observations, and relaxation hymns, the collected transmissions of four people who have grown into relationships and parenthood and adult worry. But they are rendered with Animal Collective’s singular sense of exploratory wonder. Harmonies so rich you want to skydive through their shared air, textures so fascinating you want to decode their sorcery, rhythms so intricate you want to untangle their sources. Here is Animal Collective's past two decades, still in search of what’s next.
Three years after the release of her critically acclaimed debut, Putting On Airs, Nashville-raised singer-songwriter Erin Rae shares an intimate, honest, and playful version of herself through her sophomore album Lighten Up. Produced by Jonathan Wilson, and recorded in the musically hallowed grounds of California’s Topanga Canyon, the album represents a sonic and inner shift for Rae. In it, she embraces more of her influences, like baroque-pop, cosmic country, and indie-folk songs while mirroring a more compassionate self-view she calls “accepting my humanness”.
Although she grew up in a musically oriented family, Rae’s pursuit of music happened by accident. After being gifted a Martin acoustic guitar on her 18th birthday, Rae decided to drop out of college after just one semester. Her goal at the time had little to do with making music into a career, and everything to do with spending more time and energy with the community of musicians and writers she knew back home. Looking back on those days, she recalls the initial high of playing live at an open mic during winter break and realizing, “this is how I connect with people. I have to pursue this.” Rae has continued to connect with people through her music ever since, performing at mainstays like Newport Folk Festival, Red Rocks Amphitheater, and sharing stages with Father John Misty, Hiss Golden Messenger, Jenny Lewis, Jason Isbell, and Iron & Wine. The success of Putting On Airs also earned her a nomination for Emerging Act of The Year at the 2019 Americana Music Awards alongside other trailblazing artists like Yola, Jade Bird, and J.S. Ondara. When the Covid-19 pandemic called a halt to touring, Rae took advantage of the opportunity to revel in a wide range of musical influences she had absorbed since the making of Putting On Airs, sitting in an un-rushed space while deciding which direction she wanted to take her music next.
Though Rae says the core of her work will always stem from the songwriting she was raised on, the making of Putting On Airs with collaborators Jerry Bernhardt, Dan Knobler, and Dominic Billett inspired her to deepen her music exploration outside the traditional Americana box and listen to records in a broader way. “It opened up a sonic world to me that I had always enjoyed, but that felt mysterious. The process of making my last record allowed me to visualize how recorded sounds come to be, so returning to recordings of beloved artists like Feist, Judee Sill, Wilco, became exciting all over again. I could suddenly imagine what was happening in the room to create what I was hearing on the recording.” This newfound excitement led Rae down many rabbit holes, particularly a deep-dive into English psych-folk artists like Kevin Ayers and Pete Dello And Friends, as well as songwriters like Gene Clark, Scott Walker, and Jesse Winchester. That expansive discovery of musicality led her to connect with Wilson, known for his work with artists like Father John Misty, Jenny O., and Roger Waters. Their shared love for the cinematic pop of the Walker Brothers, Bobbie Gentry, and the folk stylings of Margo Guryan created a solid foundation to create together, so Rae flew to Wilson's Five Star Studios in February 2021. Wilson called on musicians Jake Blanton (Bedouine, The Killers) and Drew Erickson (Weyesblood, Father John Misty) to contribute bass, keys, and string arrangements, and played drums and lead guitars himself. Erin invited friends Kevin Morby and Meg Duffy of Hand Habits to contribute, and Wilson's longtime friend Ny Oh to sing some of the background vocals. The result is a fresh, authentic, and singular collection of recordings that are clearly rooted in a classic "canyon" sound. Lighten Up also showcases a new level of personal growth for Rae, and invites listeners to share in the results of her work towards self-acceptance. “My last record was a lot of self-assessment and criticism, and trying to kick old habits and ways of relating to people,” Rae acknowledges. “This one is about blossoming, opening up, and living a little more in the present moment. Accepting what it is to be human.”
In the lead single, “Modern Woman” Rae celebrates womanhood and femininity in all of its forms, countering outdated beliefs over driving drums and rocking guitars and inviting an inclusive perspective through her cheeky lyrics “come see a modern woman.” With “Lighten Up and Try” a song that embodies the album’s title, as well as its ethos, Rae dwells on the process of opening up to love and to life, and the vulnerability that comes with that process. Expounding on the song’s meaning, Rae shares, “This song for me just feels like celebrating the vulnerability of living. Saying yeah, ‘No one really knows what they’re doing. You just have to try.’”
In the measured track, “Mind - Heart” Rae outlines the dangers of codependency, and through the straightforward lyrics, “the mind is fucked but the heart is pure,” she meditates on the unreliability of thoughts. “Both of my parents have practiced meditation throughout my life following different traditions. This song for me is essentially using mindfulness to detach from habitual patterns of thought and behavior, and reconnecting to the heart, the intuition.” In “True Love’s Face” she opens to the potential of love and the choice to not flee from it over retro melodies, affirming through her bell-like vocals, “I will know it when I see it / I will not turn it away.” And in the psychedelic “Candy + Curry” Rae balances awakening and being centered in the present moment, with a soundscape that invites the listener to relax and enjoy the ride. With Lighten Up, Rae hopes to give listeners the opportunity to borrow what she’s learned, that there can be a lightness when things feel heavy and that even our darkest corners can allow us to shine. “I hope this record encourages people to be a little softer towards themselves.” Rae shares. “If [Lighten Up] gives people listening the space to feel more tender towards themselves and move in the world from that place, that would be the dream for me.”
Two Sevens Clash is the debut album by roots reggae band Culture, recorded with producer Joe Gibbs at his own Joe Gibbs Recording Studio in Kingston in 1976, and released on Gibbs' eponymous label in 1977. The album's title is a reference to the date of 7 July 1977. Singer Joseph Hill said Two Sevens Clash was based on a prediction by Marcus Garvey, who said there would be chaos on 7 July 1977, when the "sevens" met. With its apocalyptic message, the song created a stir in his Caribbean homeland and many Jamaican businesses and schools closed for the day.
Acclaimed British singer and songwriter, JP Cooper announced his new album titled SHE, which will be released on in early 2022. SHE pays homage to all the women who have made an impact on his life. The album is a collection of songs about relationships, faith and family. 2022 promises to be JP’s most exciting year, with his new album on the way including some of his most personal, authentic and moving music yet.
2022 release produced by Stone Gossard of Pearl Jam. "I'm very excited to be working with Loosegroove Records and to have had Regan Hagar and Stone Gossard produce this album. We made the unabashed folk record that I have been wanting to make for years. Kind of a love letter to the acoustic guitar and to musical intimacy. It was recorded in Minnesota and Seattle and features some rich and wonderful instrumentation including horns and strings. The cover art is a woven wall hanging that my wife Josie made that is hanging on our lakehouse wall. That sets the tone: warmth, home, and intimacy. Hope you enjoy!" -Mason Jennings
We don’t typically look to pop albums to answer our cultural moment, let alone to meet the soul hunger left in the wake of global catastrophe. But occasionally, an artist proves the form more malleable and capacious than we knew. With Laurel Hell, Mitski cements her reputation as an artist in possession of such power - capable of using her talent to perform the alchemy that turns our most savage and alienated experiences into the very elixir that cures them.
Her critically beloved last album, Be the Cowboy, built on the breakout acclaim of 2016’s Puberty 2 and launched her from cult favorite to indie star. She ascended amid a fever of national division, and the grind of touring and pitfalls of increased visibility influenced her music as much as her spirit. Like the mountain laurels for this new album is named, public perception, like the intoxicating prism of the internet, can offer an alluring façade that obscures a deadly trap—one that tightens the more you struggle. Exhausted by this warped mirror, and our addiction to false binaries, she began writing songs that stripped away the masks and revealed the complex and often contradictory realities behind them.
She wrote many of these songs during or before 2018, while the album finished mixing in May 2021. It is the longest span of time Mitski has ever spent on a record, and a process that concluded amid a radically changed world. She recorded Laurel Hell with her longtime producer Patrick Hyland throughout the isolation of a global pandemic, during which some of the songs “slowly took on new forms and meanings, like seed to flower.” Sometimes it’s hard to see the change when you’re the agent of it, but for the lucky rest of us, Mitski has written a soundtrack for transformation, a map to the place where vulnerability and resilience, sorrow and delight, error and transcendence can all sit within our humanity, can all be seen as worthy of acknowledgment, and ultimately, love.
Unforgettable… with Love is legendary singer and songwriter Natalie Cole’s biggest album to date. Since its initial release in 1991, it has sold over seven million copies and also won Cole seven GRAMMY Awards. The album’s title track, an interactive duet with her father, would go on to be one of her most memorable recordings. This 30th Anniversary edition of the album features newly remastered audio. LP Packaging:180-gram vinyl.
Many years ago, Converge released "You Fail Me (Redux)". It was a remixed and remastered version of their classic follow up to their landmark Jane Doe full length album. "You Fail Me (Redux)" was remixed by guitarist Kurt Ballou at his God City studios. The release was also remastered by Alan Douches (Motörhead, Mastodon), and repackaged by vocalist/artist Jacob Bannon.
There will be a new indie exclusive variant with red and black smoke vinyl.
Original soundtrack to the 2021 motion picture, the first musical from director Stephen Spielberg. The original West Side Story score was adapted for the new film by David Newman, who also wrote the scores to Ice Age, Matilda and Anastasia, the latter of which won him an Academy Award nomination for Best Original Score. Leonard Bernstein and Steven Sondheim's original musical was first adapted for the big screen in 1961, just four years after it first hit Broadway. It's now receiving it's long-anticipated second outing. Composer David Newman arranged and adapted Bernstein's original score for the film. Gustavo Dudamel conducted the New York Philharmonic during the film's recording sessions in 2019, with additional recording by the Los Angeles Philharmonic done the following year. Jeanine Tesori served as vocal coach, while frequent Spielberg collaborator John Williams served as music consultant. VINYL LP
Hollis Brown's latest album, In The Aftermath, is the deliciously depraved outcome of an all-night rock n' roll riot. The Queens, New York-based quintet escaped to the Poconos to record with a few handles of whiskey, and, in one 24-hour session, ran down the Stone's seminal first album of all originals, 1966's Aftermath. Tracked live in the studio with minimal overdubs, In The Aftermath is potent proof the five-piece group is one of the last great American rock n' roll bands. In The Aftermath is the second in a casual homage series. Previously, Hollis Brown issued, Gets Loaded, saluting Velvet Underground's Loaded. This new album directly follows the band's most successful release yet, 2019's Ozone Park, which earned rave reviews from Rolling Stone, Billboard, Paste Magazine, Pop Matters, Relix, and Goldmine. 'In The Aftermath' was an artistic inevitability for Hollis Brown. The five-piece band enjoyed doing the VU album so much they began to joke about doing a "Hollis Brown presents..." series, covering formative records in their artistic continuum. The impetus to do Aftermath came from an invitation to play a COVID-protocol obeying backyard party during the pandemic. The request stipulated the band perform a classic album of their choice. Yet, on 'In The Aftermath', Hollis Brown doesn't try to out-Stones the Stones. Instead, they find clever ways to salute the Stones legacy. Inspiration from the album's freewheeling recording sessions will definitely impact the band's next album of all originals which is mostly written. "Making this record sent us back to the drawing board," Mike reveals. "It was about going back to the essence of American roots music-blues and country-which is a tradition our band was founded upon." 'In The Aftermath' is available everywhere February 4th through Cool Green Recordings, an imprint of Mascot Label Group.
A FREE SOCIETY - Night Crickets - Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners. Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J's manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes' Coachella set in 2013. Soon after the three collaborated on Darwin's 2014 release Souvenir.
Inspired by the iconic emo hits & bands of the early 2000s, As It Is welcome fans to their new album ‘I WENT TO HELL AND BACK’ with the new song “I MISS 2003.” Featuring lyrics from scene favorites like My Chemical Romance, Mayday Parade, The All American Rejects & call backs to bands like New Found Glory & Good Charlotte - this tracks offers a nostalgic & upbeat break from the rest of the heavy & at times bleak theme of the album.
The Sophtware Slump... On A Wooden Piano - So this new "The Sophtware Slump" isn't a recontextualization of old songs as a stealth anthology for newcomers. This newly recorded "The Sophtware Slump" with the songs' skeletons are the same, but the bones dance differently. Slower songs like "Undearneath the Weeping Willow" make a natural transition to this sparer presentation. Greater revelations occur with the once louder songs like "The Crystal Lake" and "Chartsengrafs." The effect at times is that of unfolding an origami dinosaur and refashioning it into a swan. The album's sharp melodic sense isn't dampened at all, but the words step forward, which only enhances the aspirational lift at album's end, about aiming toward the sky.
Brent Cobb follows in the footsteps of his country music heroes with his new gospel album, And Now, Let’s Turn to Page…. By offering eight familiar hymns alongside an original song written with his wife, the collection feels reverent as well as rowdy—and completely in his comfort zone.
Although the album has been a long-time dream for Cobb, it has only come to fruition now due to a near-death experience in July 2020, when the vehicle that he was driving, with his young son inside, got T-boned at a rural four-way stop. Following the crash, Cobb found himself with a renewed outlook on life, remembering, “You just start piecing together how everything is sort of intentional…I’d always had it in the back of my mind to make a gospel album. That moment of clarity, of almost getting killed, made me think I should just make the gospel album now.”
Produced by Dave Cobb in RCA Studio A in Nashville, And Now, Let’s Turn to Page… continues a tradition established by legends such as Jerry Lee Lewis, Willie Nelson, and Elvis Presley, who could invoke their spiritual side without losing sight of their musical foundation. “I’ve always wanted to make a southern gospel album because it’s what I come from, but also it used to seem like a rite of passage for country singers to make a gospel album,” Brent says. “It all comes from gospel music. That’s where country music came from. I’m just trying to carry that torch.”
Born and raised in Georgia, Brent returned to his home state a few years ago after establishing a career as one of Nashville’s most creative and compelling songwriters. He explains that he considers each of his past albums like a message to his kids: Keep ‘Em on They Toes explores his thoughts, Providence Canyon describes the people who influenced his life, and the Grammy-nominated Shine on Rainy Day reveals who he is. For the gospel album, he adds, “this is what I believe in.”
Grammy-nominated singer, songwriter and musician Brent Cobb will release his debut gospel album, And Now, Let’s Turn To Page…, January 28 via his own label, Ol’ Buddy Records.
Kiefer Sutherland, mostly known as an Emmy and Golden Globe Award-winning actor, producer, and director, began pursuing a secondary musical career in the 2000s and 2010s by forming the Ironworks label. He signed Rocco DeLuca, Ron Sexsmith and started his own rootsy Americana outfit called the Kiefer Sutherland Band.
Fast forward to 2021, Kiefer Sutherland returns from his UK Top 10 album, 2019’s ‘Reckless & Me’ with a brand new record, 'Bloor Street' coming out on 21st January 2022. Opening track "Bloor Street" explores the sense of home both externally and within yourself. Lead track "Two Stepping in Time" showcases Kiefer's classic fire sparking americana tune. Additional singles include "Lean into Me" and "Chasing The Rain”
The definitive collection of Curtis Mayfield’s reflective, soul moving, evocative hits. Includes everything from the political to the romantic, from cuts from his genre-defining Superfly (“Freddie’s Dead) to statement makers like “(Don’t Worry) If there’s a hell below, we’re all going to go.”
A Place to Bury Strangers defund post-punk orthodoxy with the most audacious and varied songwriting of their career on their sixth album, See Through You— out February 4, 2022, on Oliver Ackermann’s label, Dedstrange.
Following up on 2021’s highly acclaimed Hologram EP, the rebooted lineup— vocalist/guitarist Oliver Ackermann plus drummer/vocalist Sandra Fedowitz and bassist John Fedowitz (both of Ceremony East Coast)— delivers an overclocked set of futuristic electronic punk music encoded with punishing industrial rhythms, swirling voltage-starved guitars and unclassifiable auditory annihilation.
Across thirteen tracks recorded in seclusion throughout the nihilistic absurdity of the coronavirus pandemic, See Through You is proof-positive that the group hailed as “The Loudest Band in New York” is still finding new ways to push the needle deeper in the red.
Kanye West delivers a Deluxe Edition of the record-shattering Donda, featuring 4 bonus tracks plus fan-favorite verses from Andre 3k, Kid Cudi and more. This release, from one of “the most influential pop stars of the 21st century,” was his 10th #1 album on the Billboard 200, racking up over 1 billion streams in the first 10 days. Originally previewed at 3 historic livestream events, the global phenomenon topped charts in 11 countries and set an Apple Music record of #1s in 152 countries. 2 CD.
Coming February 11th: Spoon's tenth album, Lucifer on the Sofa, is alive, vital and inarguably the band's heaviest work to date. The first set of songs that the quintet has put to tape in its hometown, Austin, in more than a decade. Written and recorded over the last two years ' both in and out of shutdown ' these songs feel like a culmination of Spoon's career while marking a shift toward something louder, wilder, and more vivid.
Priscilla Block draws listeners in with her unfiltered, relatable songwriting and catchy melodies. "I love writing about real-life experiences and the ups and downs that I've gone through," Priscilla says. "I don't sugarcoat anything, and I think that's the beauty of songwriting and being an artist. It's a little sass, a little trash and a little sad," she describes with a knowing wink as her catalog rolls easily from heartbreak to laughter. Features the Country radio hit, "Just About Over You."
“I was born in the North Carolina mud,” says Jamil Rashad, better known as Boulevards, one of the most idiosyncratic artists making music in the Tarheel State. His fourth album, Electric Cowboy: Born in Carolina Mud, is caked in the soil where he grew up, mired in the muck of this place—not stuck but freed. Grounded in personal experience and haunted by personal demons, Electric Cowboy is an album that reaches out, that embraces the world, that mixes the confessional and the communal. But the dominant sound—the dominant mindset—is funk: gritty, warm, weird, charismatic. Rashad once again composed and recorded with Blake Rhein, guitarist for Durand Jones & the Indications, after they had worked so well together on 2020’s Brother! EP. They corralled an all-star team that included Adrian Quesada from the Grammy-nominated neo-soul act Black Pumas and Colin Croom from the Chicago indie-rock outfit Twin Peaks.
“On Electric Cowboy I wanted to make some modern funk that the kids would enjoy, but still have some soul elements and some punk elements. On the cover you see a black man on a horse running away from his demons. That’s me. You can hear it all in the songs – struggling with demons and still coming out on top of it all. That’s what funk is! You got some heavy, dark shit, but you also got some joyful compositions, funky basslines, dope harmonies, infectious hooks. So that’s me on the cover, the Electric Cowboy, slaying anything that comes in my path. I gotta keep riding, keep trucking, keep fighting, keep pushing.”
The Mercury Prize-winning, multiple GRAMMY- and BRIT Award-nominated band alt-J have announced their eagerly-awaited fourth album The Dream, set for release February 11, 2022. The Dream is an album of intrigue, beauty and humanity - a coalescence of everything that has made alt-J a global band with true staying power. True-crime inspired stories and tales of Hollywood and the Chateau Marmont rub shoulders with some of the band’s most personal moments to-date The album was created after a period of rest for the band following their seismic world tour in support of previous record RELAXER. It is a record that is the sound of a band growing as songwriters and storytellers.
Looking at Dan Andriano’s catalog, one might assume that making new music is old hat for the veteran vocalist, songwriter, bassist and primary member of the beloved Chicago punk outfit Alkaline Trio. Decades into his prolific career, though, Andriano is just as in love with the process as he was in those early days of sweaty clubs and cramped vans.
On Andriano’s new Epitaph Records album, Dear Darkness, that unceasing passion is evident on this solo, self-produced project, which follows his 2015 release (as Dan Andriano in the Emergency Room) Party Adjacent, finds Andriano venturing into deeply personal lyrical territory while also pushing the limits of just what his unclassifiable sound can be.
While off the road in 2020, Dan Andriano amassed a sizable collection of ideas, including a small batch of songs he felt were ready to bring into the studio. He sent a handful of those tracks out to close friends and trusted collaborators and was particularly encouraged by the excited response from Mike Park, an old friend and creative confidante whose Asian Man Records released Alkaline Trio’s first two albums.
Park was thrilled by what he heard and encouraged Andriano to consider a working on a new solo project. It was near the end of 2020, and enough strides had been made in COVID-19 safety that Andriano felt safe to travel from his home in St. Augustine, Florida to Park’s studio in San Jose, California. “He could tell that I was pent up and anxious and needed to do something productive and positive, and just get out of here,” Andriano says of Park. “So he was very helpful in getting me out there.”
While in San Jose, Park introduced Andriano to brothers Randy and Dylan Moore both of whom would end up playing alongside Andriano on Dear Darkness. The group originally intended to record an EP, but Andriano had so much material to work with —and felt such a natural rapport with the Moore brothers — that the impromptu session led to a full-length album.
BDP's first album--and the only one to include the late DJ Scott La Rock--sounded harder than hell when it came out in 1987. Though the simple beat-box patterns on a few tracks sound dated, most of La Rock's tracks are bluntly effective, especially the AC/DC riff he appropriates on "Dope Beat." And KRS-One still performs most of his Criminal Minded rhymes, because his audience knows them word for word: the ultraviolent dancehall of "9mm Goes Bang," the battle cry of "South Bronx" (and its counterpart, the anti-Juice Crew screed of "The Bridge Is Over," with its little Billy Joel homage), the catalog of La Rock's condom collection on "Super-Hoe." KRS bloomed later; here, he just rocked.
It’s been a decade since SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS released their debut album together, and since then have been on one of the more impressive and unrelenting tears in rock ‘n’ roll, issuing two more hard-hitting, highly acclaimed records, and rocking stages all over the world. Enter 4, the Dave Cobb-produced highly anticipated studio effort from SMKC. True to the band’s expanding legacy, it’s everything you’ve come to expect from SLASH, MYLES KENNEDY, TODD KERNS (bass), BRENT FITZ (drums) and FRANK SIDORIS (rhythm guitar)… but also unlike anything you’ve heard from them yet. This time out, SLASH says, they captured a certain “magic” – the sound of five musicians and band mates listening to and playing off one another in the spirit of live, in-the-moment collaboration. “It has a very spontaneous, fun kind of thing to it, and I love that,” SLASH says of 4. “It’s the sound of the five of us just jamming together in one room.”
Created as a celebration of Prine’s life and career, Broken Hearts & Dirty Windows: Songs of John Prine, Vol. 2 features new renditions of some of Prine’s most beloved songs performed by Brandi Carlile, Tyler Childers, Iris DeMent, Emmylou Harris, Jason Isbell, Valerie June, Margo Price, Bonnie Raitt, Nathaniel Rateliff, Amanda Shires, Sturgill Simpson and John Paul White. Proceeds from the album will benefit twelve different non-profit organizations, one selected by each of the featured artists.
Released to widespread acclaim, NPR Music praises, “aside from being one of the greatest songwriters we’ve ever had, he was also an amazing mentor to so many artists...his spirit really comes through,” while American Songwriter declares, “Those who fail to be affected by the effort involved may want to check their pulse to assure that there’s still a heart within them that’s beating at full force” and No Depression proclaims, “Broken Hearts and Dirty Windows, Vol. 2 ensures that that remarkable gift and his influence continue to live on.”
After a run of critically-acclaimed singles and EPs, British producer Michael Greene, aka Fort Romeau, returns to the full-length format with Beings of Light, the long-awaited follow-up to 2015’s Insides and his second LP on Ghostly International.While a prolific DJ who orients many of his productions for the dance floor, Greene still sees the album as the ultimate statement of intent, “a space to stretch out, to speak in full paragraphs rather than stunted sentences.” He has explored several stylistic fragments in recent years (including the summer 2018 anthem “Pablo,” hailed a Best New Track by Pitchfork), but when faced with the extended pause to the dance community in 2020, Greene felt compelled to focus on a larger body of work. Embracing a back-to-basics mentality, he amassed over a dozen hours of sounds, asking himself throughout the sessions: “Does the music move you? Is it honest?” He came out the other end withBeings of Light, an expressive collection traversing rainy day ambient, moonlit disco, and dream-like techno in pursuit of the power found within our subconscious.
Like previous Fort Romeau records, Greene’s foundational inspiration for Beings of Light is imagery. Specifically a work bySteven Arnold, a Dalí protégé known for constructing otherworldly, tableau vivant set designs from found objects until his death in 1994 amid the AIDS crisis. Arnold’s 1984 photograph Power of Grace (featured as the album art and lending a title to one of its tracks) spoke to Greene immediately:“It’s transcendent in the most potent and direct manner, imagination untethered by material, elegance without riches. For me it represents, among other things, a radical class politics. Imagination always wins over resource.” The visual, as well as the surrealist idea that dreams allow us to create a better reality, led Greene to shape his most ambitious and complete record to date, a love letter to dance music coded with a message of hope. The album title comes from his belief that people can facilitate change by first imagining the way we want things to be, and not letting cynicism block that light.
The urgency is felt right away, as album opener “Untitled IV” ushers in a sprinting tempo in its exploration of the human voice, a recurring device in the Fort Romeau project. Greene uses it as a compositional layer, disembodied with its context often opaque or reduced to a single phrase. Here the voice is scattered in percussive twitches, colliding with a kick drum to induce a near state of hypnosis as horns sound off in the distance.
Propulsive standout “Spotlights’’ is Greene’s ode to the romanticized New York City that lives in our hearts, nocturnal and carefree. A vocal snippet repeats the title with a breezy poise, reminiscent of classic house cuts. “Ramona’’ honors the beloved RobertJohnson club in Offenbach, Germany. Hazy, spacious, and sustained, Greene designed the beat with their system in mind, “also with a strong nod to the more modern lineage of exceptional minimal house music from Frankfurt,” he says. Two ambient pieces surround the track, “(In The) Rain” sets the scene and “Porta Coeli” (a Latin phrase which loosely translates to “heaven’s gate”) soundtracks the comedown. It’s these sequential choices that reflect Greene’s desire to reach beyond the formulaic demands of the dance floor for something less tangible, a middle space. “One that relates to the immediacy of precision frequency sound system music but also connects to us with the complication and ambiguity that is required of human emotion,” he explains.
No better example than the album’s closer, the title track. An arc constructed with atmospheric textures, euphoric swings of percussion, and a well-placed piano refrain, “Beings of Light” is adaptive; one could imagine it reverberating from a club, scoring the emotional apex of a film, or radiating through the realm of dreams. That is where Greene sees us having real impact. “The dream world is our most potent weapon against the status quo - realities cannot exist without first being imagined. It is the job of power to limit the scope of the imagination. We must resist it always and fully.”
Ask the members of Empath how things have changed since the release of their critically-acclaimed 2019 album, Active Listening: Night on Earth, and they’ll downplay it. Though, come February 11, 2021, Empath will release their sophomore full-length, Visitor, via Fat Possum, marking a seismic shift for the scrappy quartet who came up playing shows on Northeastern DIY circuits and now have just completed a tour with Modest Mouse. While the album holds steadfast to the careening, joyous noise Empath staked their name on, Visitor was produced by Jake Portrait, making it the first release the band has recorded with a producer in a formal studio. “It’s a collage of sounds intended to produce a feeling of hearing life through the walls.”
One Day is the third album from the Cactus Blossoms - featuring eleven songs written, produced, and harmonized by brothers Jack Torrey and Page Burkum. Recorded and mixed by longtime collaborator Alex Hall using a mobile rig in Page’s Minneapolis basement, the album continues the evolution of the band's signature blend of country, soul, and 60’s rock sounds, all anchored by the brothers’ core sibling harmony vocal style.
The unforgettable debut studio album by R&B/Soul singer Minnie Riperton. Contains the explosive hit single "Les Fleurs" beautifully orchestrated by the prestigious Charles Stepney. Reissued in original gatefold format for the first time in over five decades. Pressed on limited edition 180g lilac coloured vinyl.
The debut studio album by US country artist Waylon Jennings. 12 eclectic sides featuring country, rock, folk and blues styles. Original pressings were sold exclusively at JD's nightclub in Phoenix, Arizona, where Waylon Jennings regularly performed with his backing band The Waylors during the early 60's. This title sees its first official vinyl reissue in over five decades. Pressed on limited edition 180g dark grey vinyl with original artwork.
Rania Woodard is a queer, black woman living in the south. North Florida isn’t known for its progressiveness, but that’s where she and Brian Squillace formed LANNDS, a dreamy, psychedelic take on electro-pop that pushes back at the environment it’s created in. Rania grew up in Memphis, Tennessee, playing guitar in a Pentecostal church; playing street gigs with local blues guitarists in the summers and writing pop-country songs on the side. She later moved to Jacksonville, Florida, where she met North Carolina-born producer Brian Squillace. Inspired by her pop sensibility and emotional approach to songwriting, his trippy sonic palette, and their shared commitment to creating progressive art in the deep south, they created their third EP, “lotus”. For LANNDS, “lotus” represented a turning point. After the release of their first EP, they found initial success with an inclusion on Spotify’s “Fresh Finds” and they caught the attention of tastemaker blogs like Neon Gold and Line of Best Fit. Following their second EP in 2018, they toured supporting TENDER and played an official SXSW showcase. Afterwards, they spent a year working on a third release. They later scrapped the project after taking LSD together, concluding that they’d been weighed down by self-doubt. With “lotus” they eschewed all outside influence, pushing to make sounds that moved them and felt authentic. They’ve since resumed that mission of authenticity, releasing “In The Garden,” the newest of their singles to debut since signing with Run for Cover. “In the Garden,” much like lotus is a pulsing, urgent work that captures raw emotion and embodies the DIY ethos of LANNDS—all writing, recording, artwork, and video content is done by Rania and Brian. The track is intoxicating and wondrous, greeting you with the sounds of chittering birds, as if you’ve stepped into an idyllic paradise. There’s a hypnotizing energy from the careful rise and fall of Rania’s vocals, her song dreamily maneuvering the luxuriant instrumentals. She offers instructions, a reminder to reach and claim a current season that’s waiting for conquest. As Rania explained of “In the Garden”, the track is centered around the idea of seizing each moment, especially when so much of our time is limited. “It’s a take on how I spent a year inside to recenter my awareness and how that made me realize there won’t ever be a right time to do what you want and to just go for it. The song is a metaphor for the death and rebirth of our constant daily lives and how we’re just getting by through the ebbs and flows of life.” Reaffirming Rania’s commitment to pushing boundaries and normalizing people of color in indie music, the material exists on its own plane, merging vocals that make you want to cry with a beat that makes you want to dance.
Going To Hell is the second studio album from American rock band The Pretty Reckless. Originally released in 2014, the album debuted at number five on the Billboard 200, making this the band’s first top-10 album on the chart. The album spawned five singles, including “Heaven Knows,” “Messed Up World” and Follow Me Down,” all three of which reached number one on Billboard’s Mainstream Rock Songs Chart.
The first single hitting number one would make The Pretty Reckless only the second act with a female vocalist to top the chart since 1990. When “Follow Me Down” hit number one, the third single from this album to do so, the band tied Halestorm for the most number ones by a female-fronted band since the chart launched in 1981.
"If Taylor is indeed going to Hell, at least she's released a truly great album on the way down.” – Kerrang!
Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind the kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans.
FTHC is Frank Turner’s first album since 2019. It was recorded at Abbey Recording Studios and produced/mixed by Rich Costey. It darts between punk, folk, hard rock and singer-songwriter confessionals, starting with “The Gathering” featuring Jason Isbell and Muse’s Dom Howard. The project ends with a rumination on leaving the capital after 7,300 days for a new life on the Essex coast with the bittersweet “Farewell To My City.” Indie Exclusive Red LP.
Nuclear Bubble Wrap’s album, Problem Attic, is a 45-minute genre-hopping ride through the hurricane of B.S. that’s terrorized us for our entire lives. It’s the experience of growing up in a miserable world on the verge of falling apart. It’s got killer A.I. and lonely mars rovers. It’s got sexy dinosaurs. It’s got vaporwave. It’s got sleazy politicians and Illuminati ghouls. It’s got a theme song for pansexual pantheists. It’s even got a zombie Elvis. It’s Problem Attic. Indie Exclusive.
Nash Kato and Eddie “King” Roeser met at Northwestern University, formed Urge Overkill (named after a George Clinton/Parliament lyric), and soon released a Steve Albini produced EP on Restless Records. After a string of acclaimed releases on Touch & Go Records (including Stull EP, containing their cover of Neil Diamond’s “Girl, You’ll Be A Woman Soon,” which became a hit after being featured in Quentin Tarantino’s Pulp Fiction), the band moved to Geffen Records and issued a pair of albums which took over alternative radio. It was a whirlwind decade for the band. It wasn’t until 2011 that the world would hear new Urge Overkill music, when the band released Rock & Roll Submarine (which earned a four-star review in Mojo.) Now, a decade later, is the world ready for more? There is only one answer: Oui.
Oui features twelve new tracks from Kato and Roeser – eleven are Urge originals, with the opener (and first single) being a cover of Wham!’s “Freedom!” Add in tracks like “How Sweet The Light” and “Forgiven” and it all adds up to an Urge Overkill release the world not only wants, but needs.