Indie Exclusive Releases
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2 Custom 180 Gram Translucent Orange LPs, Gatefold Jacket, Printed Insert, Inside LP Pockets, 24”x 36” Movie Key Art Poster folded and 11” X 17” Hollywood Map Poster folded
Double LP. Originally released in 2009. Remixed and remastered in 2019.
Originally released in 2011. Remixed and remastered in 2019.
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Part 2, like Part 1, was produced by Foals themselves: Yannis Philippakis (vocals/guitar), Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys), with Philippakis and Congreave contributing bass too. The album simmers with the pure visceral intensity which has long been emblematic of the band— “The Runner” and “Black Bull” are streamlined attacks, and this approach also informs“10,000 Feet”— while retaining the opening chapter’s eclectic nature. “Wash Off” marries manic world music-tinged grooves with a punk-like intensity and the cinematic instrumentals “Red Desert” and “Ikaria” underline that Everything Not Saved Will Be Lost is a journey rather than a mere collection of songs.
On their fourth LP (after Allah-Las, Worship The Sun and Calico Review), drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian A.K.A Allah Las turn their collective gaze outward and toward the horizon. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet. “We’ve been traveling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. And this is precisely what sets LAHS apart from its predecessors -- a record inspired less by time, but by place. “LAHS to me feels like a soundtrack to the past 5 years or so. A sort of audio postcard to anyone who wants to listen.”
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“It's like a coming-of-age crisis,” says Daniel Shultz about Out of the Blue, the messy and melodic debut album from his band, Dan Luke and The Raid. “It’s about being in that space in your 20s where you’re trying to get your shit together and figure things out in life. You’re dealing with your problems”—the singer, songwriter and guitarist pauses—“even as you’re going out and partying and getting into trouble all the time.”
Shultz and his Dan Luke & The Raid band mates know a thing or two about the last part of that equation, as evidenced by the songs and subject matter on Out of the Blue. Throughout the album’s 10 tracks, people are passed out on curbs under neon signs (“Black Cat Heavy Metal”), breaking hearts over rolled-up dollar bills (“Exoskeleton”), leaving baggies lying in passenger seats (“Money Mouth”) and faking smiles and feeling ashamed (“Golden Age”). Legs are bleeding, faces are numb and Shultz declares his band to be the “diamond kings of smut.” All the while, the music throbs and pulses and twitches and buzzes with the energy and enthusiasm and inexperience of youth, bursting with harsh, distorted guitar chords, blown-out synths squiggles and hopped-up rhythms—as well as, on occasion, moments of stunning and sincere melodic beauty.
With the weight and experience of events that have been at times joyful and sad, poignant and puerile, triumphant and tragic, Dan Luke and The Raid continue to carve out their future, one musical moment at a time. “What we want to do is create music, and create music in a way where people feel something,” Shultz says. “And when we see that happening it’s an amazing thing.”
Ill Communication is the fourth studio album by the Beastie Boys. It was released on May 31, 1994 by Grand Royal Records. Co-produced by Beastie Boys and Mario C and featuring the singles Sabotage, Get It Together, Sure Shot, and Root Down. Pressed on Limited Edition 180-Gram Silver Metallic vinyl.
Paul's Boutique is the second studio album from the Beastie Boys. Released on July 25, 1989, on Capitol Records, it was produced by the Dust Brothers and features the singles Hey Ladies and Shadrach. Pressed on Limited Edition 180-Gram Translucent Violet vinyl and spread across 2LP’s for the first time ever.
The Root Down EP from Beastie Boys was released on May 23, 1995. The first three tracks are variations of the track "Root Down", and the remaining seven tracks were recorded "live in Europe, winter 1995". Pressed on 4 random colored Limited Edition 180-Gram vinyl (Red, Orange, Green, or Blue).
To the 5 Boroughs is the sixth studio album by the Beastie Boys. The album was released on June 15, 2004 internationally, and debuted #1 on the Billboard 200. Featuring the singles Ch-Check It Out, Triple Trouble, Right Right Now Now, and An Open Letter To NYC. Pressed on Limited Edition 180-Gram Blue Vinyl.
Ode to Joy - the 11th studio album from the pioneering Chicago rock band Wilco - will be released Oct. 4 via dBpm Records. The album features 11 new songs written and produced by Jeff Tweedy and recorded by Wilco at the bands' own Chicago studio dubbed The Loft.
'May Your Kindness Remain' is Courtney Marie Andrews statement piece. It is the follow up album to Courtney Marie Andrews critically acclaimed 2016 album Honest Life, which made Rolling Stone's list of the "Top 40 Country Albums of 2016" and was The Bluegrass Situation's Album of the Year. She even appeared on an episode of 'Later…with Jools Holland.” She has toured with The Head & The Heart, Big Thief, Hamilton Leithauser and more.
Philadelphia-based punk band, The Menzingers are set to release their sixth studio album, Hello Exile. Produced by Will Yip (Title Fight, Quicksand), the album is the follow-up to the band’s 2017 critically acclaimed release After The Party.
Since forming as teenagers in 2006, The Menzingers have shown their strength as rough-and-tumble storytellers, turning out songs equally rooted in frenetic energy and lifelike detail. On their new album Hello Exile, the band take their lyrical narrative to a whole new level and share their reflections on moments from the past and present: high-school hellraising, troubled relationships, aging and alcohol and political ennui. And while their songs often reveal certain painful truths, Hello Exile ultimately maintains the irre- pressible spirit that’s always defined the band.
The Menzingers are: singer/guitarists Greg Barnett and Tom May, bassist Eric Keen, and drummer Joe Godino.
Rebirth takes place when everything falls apart. DIIV—Zachary Cole Smith [lead vocals, guitar], Andrew Bailey [guitar], Colin Caulfield [bass], and Ben Newman [drums]—craft the soundtrack to personal resurrection under the heavy weight of metallic catharsis upheld by robust guitars and vocal tension that almost snaps, but never quite…
The same could be said of the journey these four musicians underwent to get to their third full-length album, Deceiver. Out of lies, fractured friendships, and broken promises, clarity would be found.
“I’ve known everyone in the band for ten years plus separately and together as DIIV for at least the past five years,” says Cole. “On Deceiver, I’m talking about working for the relationships in my life, repairing them, and accepting responsibility for the places I’ve failed them. I had to re-approach the band. It wasn’t restarting from a clean slate, but it was a new beginning. It took time—as it did with everybody else in my life—but we all grew together and learned how to communicate and collaborate.”
A whirlwind brought DIIV there.
The music Kacy and Clayton make is inextricable from where they grew up. They sing about the kind of people youd find in Wood Mountain, Saskatchewan (population very few.) The hills, barns and remoteness of the area are in these songs, with a bittersweet acknowledgement that this music has taken them far from home. Carrying On follows the international acclaim for their previous records Strange Country (which Q magazine called, A beautiful album that nudges a classic past into a brave future.) and 2017s The Sirens Song (described by Uncut as Ageless and beguiling. A classic record for this or any other time.)Their sound is equal parts homespun, coming from a family and community where playing music is an ever present part of social gatherings, and the rare country, blues and English folk rock these second cousins obsess over and collect. For Carrying On, Clayton cites as influences: Bobbie Gentrys Delta Sweete, Hoyt Axton's My Griffin Is Gone, Cajun fiddle music, and the steel guitar of Ralph Mooney who played on many of the records that defined the Bakersfield country music scene of the 1950s. Sixties psych has also woven its way into these new songs Having toured almost nonstop for the last two years, Carrying On was conceived and honed on the road and recorded immediately after a jaunt across Western Canada the songs having been tried and tested before audiences each night. The album was produced once again by Jeff Tweedy of Wilco and Uncle Tupelo fame, at his Loft studio in Chicago.
Produced by Grammy Award-winning producer Dave Cobb, this newest offering by Colter Wall was recorded at Nashville's historic RCA Studio A. Wall's sound is comprised of resonate and raw baritone vocals, folk and bluegrass style guitar and banjo picking, steady kick-drum stomping, and visually provoking, story telling lyrics.
Twenty years into their career, Tegan and Sara have recorded a new album that is based on the first songs they ever wrote. Hey, I’m Just Like You – their ninth studio album overall and first since 2016’s Love You to Death – will be released on September 27 on Sire.
Hey, I’m Just Like You is a return to Tegan and Sara’s rock and punk roots, with a punch of pop production. Recorded in Vancouver, Canada in April and May 2019, the album recasts the remarkable innate songwriting talents both possessed as teenagers, and allows these previously unreleased songs to benefit from the studio expertise they have gained in the past two decades – a period that has seen them release eight studio albums, earning seven Gold certifications and one Double Platinum certification in the process. Defiant and melodramatic, the songs capture the exultation and grief of first loves, first losses, ecstatic kiss-offs, and psychedelic tributes to friendship.
Standard vinyl on Sunburst Color Vinyl, limited to 5000 copies
Composed and assembled over the course of several years, Jaime is a highly personal album release combining Brittany’s unmistakable voice with peerless, visionary and fearless songwriting. Brittany has constructed an assemblage of songs which bend the framework of what we know from her previous work with Alabama Shakes and endeavors with Thunderbitch and Bermuda Triangle, music which wholly sits in a new terrain of sound bolstered by an incredible band of musicians including Zac Cockrell of the Shakes, drummer Nate Smith and the one and only Robert Glasper.
On his new album, ‘Ideal Man,’ Andrew Combs worked with producer/engineer Sam Cohen (Kevin Morby, Benjamin Booker)to achieve a more raw, direct sound. The collection was captured live in Cohen’s Brooklyn studio, with compact arrangements fueled by taut, elastic grooves. While Combs may be best known as a singer/songwriter in the classic 1970’s Laurel Canyon sense, he proves the true versatility of his work here, often setting his acoustic aside in favor of atmospheric synthesizers and distorted electric guitars. Combs worked with some of his favorite writers on the album, including Dylan LeBlanc, Jeff Trott, Joe Henry, and Kenny Childers, but the stories he tells here are deeply personal and remarkably vulnerable.
A sense of danger and violence underlies the entire record, much as it does the entire country, but it only serves to make the moments of beauty and connection here that much more poignant. Life is short and the clock is ticking. Andrew Combs doesn’t plan to waste a second.
‘Why Me? Why Not.’ was written by Liam with producers Andrew Wyatt and Greg Kurstin, and recorded in Los Angeles and at RAK Studios in London. Wyatt and Kurstin previously contributed writing and production to Liam’s all-conquering debut solo album ‘As You Were’, and Liam was keen to get even deeper with them this time. As a result, ‘Why Me? Why Not.’ is a clear upgrade on ‘As You Were’ but not a radical departure. LG promises, “It’s a better record than As You Were,” which is saying something, as that was epic, wasn’t it?” The first single ‘Shockwave’ (out now) erupts into life with an indelible riff which channels The Who and T. Rex, before Gallagher bursts in on the unrelenting hook with his signature venomous punch. It’s the first new music from Gallagher since his chart-topping 2017 solo album debut As You Were and the first taste of what’s to come from his forthcoming second album, Why Me? Why Not.
Single LP on coke-bottle clear vinyl in same packaging as standard LP. Includes foldout poster inserts (22.75” x 33”) & a coupon for full download. Ltd Edition. Indie Only.
Describing the Durham-basedHiss Golden Messengeris like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook—the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano—provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness—our delicate, tightrope balance of dark and light—that offer fully engaged contemporary commentary on the present. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it.
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THE GLORIOUS SONS announce their incisive new album ‘A War On Everything’ - out September 13th on BMG/Black Box - a daring 14-track collection of stadium-ready, “dirty, sweaty rock” (Alternative Press)rife with devastating moments of vulnerability and searing insight into universal truths about anxiety, sadness and isolation in the 21st century.
Produced by Frederik Thaae (Kate Nash, Atlas Genius) and recorded at North of Princess studios in the group’s hometown of Kingston, ON,‘A War On Everything’ marks the start of a new chapter for a band who in 2019 alone landed their first Billboard #1, played massive shows withThe Rolling Stones and Twenty-One Pilots, and toured with The Struts- and that’s just the beginning.
Loudwire named THE GLORIOUS SONS an up-and-coming rock band“you need to hear,” and Billboard has praised the band’s “infectious energy.” Their most recent single “Panic Attack” is currently #1 on theCanadian Active Rock and in the Top 15 at US Active Rock.
There is a core element to Chelsea Wolfes musica kind of urgent spin on Americas desolation blues thats existed throughout the entirety of her career. Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence. The songs stem from humble beginnings little more than Wolfes voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs in their own studio and helped fill them out with his modern production treatments and auxiliary flourishes from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favor of a more intimate atmosphere. The result yields Wolfes most devastating work to date.
Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved - heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses - with some of her finest songwriting to date. It's an album full of romance, a homage to Los Angeles where the album was recorded, to being a kid in the 80's, to films that touched and changed her life. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow. The women of Lost Girls are parallel to one of Khan's previous female protagonists, the tough, darkness-driven Pearl, from her 2009 lauded album Two Suns. Within the women of Lost Girls and the character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.
The Competition, the anticipated fourth album from Lower Dens, is a pop album with a concept both emotionally and politically urgent. The title is lead singer and songwriter Jana Hunter’s term for a sociopsychological phenomenon that, in different ways, binds us all. Modern capitalism by nature generates a psychosis that accelerates our insecurities and anxieties to the point of total overload, corroding our intimacies, our communities, and our senses of self. The Competition speaks, in various ways, to the necessity of “socially de-conditioning ourselves and learning how to be people,” Hunter says. “The issues that have shaped my life, for better or for worse, have to do with coming from a family and a culture that totally bought into this competitive mindset.” The band’s first three albums—Twin-Hand Movement, Nootropics, and Escape from Evil—formed a narrative of sorts, about finding community, and identifying one’s responsibilities. This trajectory was interrupted by personal crises including frustrating battles with mental health. At the same time, Hunter was and is still undergoing a gender transition they had been deferring for many years. “I repressed the idea for a long time,” Hunter says. Hunter studied Western classical music growing up, “but I was wild and in a lot of pain, and it didn’t really touch that. What did, especially as a very young person, was pop — a spectrum ranging anywhere from Prince to Anne Murray. Home life was very bleak, and pop songs were a guaranteed escape to a mental space where beauty, wonder and love were possible. I wanted to write songs that might have the potential to do that.” The Competition draws on influences ranging across decades of Western pop music and chronicles messy, vulnerable humanity at a time of upheaval and chaos — through immersive, four-minute songs meant to give pleasure as much as provoke self-examination. It channels an urgent, restless desire to connect. “My voice is gonna be different when I perform these songs than it was when I recorded them,” Hunter says. “I’m equally terrified of and excited by that, but I always want to be more myself onstage, to reach people.”
Cauthen first earned his reputation as a fire-breathing truth teller with the acclaimed roots rock band Sons of Fathers, but it wasnt until the 2016 release of his solo debut, My Gospel, that he truly tapped into the full depth of his prodigious talents. Rolling Stone called the album a triple-barreled blast of Texas country, soul and holy-roller rockabilly delivered by a big-voiced crooner, while Vice Noisey dubbed it a somber reminder of how lucky we are to be alive, and Texas Monthly raved that Cauthen sound[s] like the Highwaymen all rolled into one: hes got Willies phrasing, Johnnys haggard quiver, Kristoffersons knack for storytelling, and Waylons baritone. The album landed on a slew of Best Of lists at the years end and earned Cauthen dates with Elle King, Margo Price, Billy Joe Shaver, and Cody Jinks, along with festival appearances from Austin City Limits and Pickathon to Stagecoach and Tumbleweed. He followed it up two years later with Have Mercy, an EP that prompted Rolling Stoneto dub him one of the most fascinating, and eccentric, new voices in country music and NPRs Ann Powers to proclaim it the year of Paul Cauthen.
This is Sleeping With Siren's first album since signing with Sumerian Records - The band will be on tour all summer on The Disrupt Tour and performing at two of The Vans Warped Tour Dates - For fans of: Asking Alexandria, Pierce The Veil, I See Stars
A sweeping introduction to an artist deep into their practice, Kendra Amalie's Intuition is a star map to a new and developing sound space. An exploratory and (sometimes) shredding finger-style 12-string guitarist (both acoustic and electric), band leader, synthesist, new media creator, and experimental producer, the Wisconsin-based musician is also a songwriter occupying an ethereal zone between galaxy-brain cosmic transmissions and deep, personal expression. There's a concept and narrative arc to Intuition, too, the action moving from underwater locales to boat to city to global consciousness to farmland to the etheric plane and back to water. Shifting her music-making energies over the past several years, Intuition is the sound of a powerful new voice in focus. Intuition is a sound-based cross-section of a larger body of work. An arrival and a destination, Intuition is also surely a stopover, too. Meet Kendra Amalie.
Miss June is what happens when angst matures. Raised in the embers of punk rock, Miss June harness jagged, noisy guitars filtered through the unrivalled stage presence of frontperson Annabel Liddell, unafraid, unapologetic and ready to wake up the music scene. Described as "some unholy union between Sonic Youth and Le Tigre" the NZ four piece, completed by the music school alumni recruited by Liddell - guitarist Jun Park, bass player Chris Marshall and drummer Tom Leggett - has built a reputation for fierce, formidable and head-spinning live shows. Miss June have caught the attention of acts like The Foo Fighters, Shellac, Wolf Alice and Idles who have all eagerly harnessed their support on stage. Over the past 12 months Miss June have held industry figures and tastemakers alike in the palms of their hands following the buzz generated from their 2018 BIGSOUND showcase, a ground swell which culminated in the band choosing to sign early in 2019 with New York label Frenchkiss Records (Passion Pit, Bloc Party, The Hold Steady, Local Natives, The Drums, & The Antlers). 2019 is set to be a landmark year for Miss June. On May 31st they release the lead single "Best Girl", backed with fan favourite "Twitch", taken from their impending debut album Bad Luck Party (expected September 2019). Combining elements of post-punk, no-wave and rock, the Tom Healy (Jen Cloher, Tiny Ruins, Die! Die! Die!) produced record sees Miss June still holding close their DIY roots while creating a blistering, reckless sound full of melodic hooks and overdriven riffs that are at once immediately recognizable and yet entirely their own. Miss June are fast growing into a force to be reckoned with. Miss June demand attention. There has never been a better time for Miss June to make noise. Get in now. Or miss out.
Released in September of 2018, Mother of My Children was the debut album from Black Belt Eagle Scout, the recording project of Katherine Paul. Heralded as a favorite new musician of 2018 by the likes of NPR Music, Stereogum, and Paste, the album was also named as a “Best Rock Album of 2018” by Pitchfork, and garnered further end-of-year praise from FADER, Under The Radar and more. Arriving just a year after that debut record, At the Party With My Brown Friends is a brand new full-length recording from Black Belt Eagle Scout. Where that first record was a snapshot of loss and landscape and of KP’s standing as a radical indigenous queer feminist, this new chapter finds its power in love, desire and friendship. At the Party With My Brown Friends is a profound and understated forward step. The squalling guitar anthems that shaped its predecessor are replaced by delicate vocals and soft keys, sentiments spoken and unspoken, presenting something shadowy and unsettling; a stirring of the waters. The end result presents a captivating about-face that redefines KP’s beautifully singular artistic vision.
Seratones aptly named sophomore release POWER is described by poet and author Hannif Abdurraquib as a glorious, swelling album[a] sonic monument, and precise lyrical tapestry. AJ Haynes bends her gloriously malleable voice seamlessly around the temples of rock, and soul, and funk. All of them, unfurling in waves of keys, staccato percussion and wailing curves of guitar. Based in Shreveport, Louisiana, Haynes and founding members, drummer Jesse Gabriel and bassist Adam Davis, form the kind of laser-focused rhythm section that you only get from bandmates who've been playing together since they were teenagers. New members Tyran Coker (keys) and Travis Stewart (guitar) bring a fresh dynamic to the band with interstellar soundscapes and entrancing melodies, all while maintaining the emotional edge and intensity from their acclaimed proto-punk debut record Get Gone.vPOWER exemplifies a true strength in vulnerability, a kaleidoscopic view into Haynes passions, hopes, and worries: from her love of poetry to her advocacy for Reproductive Justice and racial equity. Hard-learned lessons from lovers and intimate friends. The struggles to adapt and overcome. POWER is as much a statement as it is a question, a semiotic exploration of sound and Soul.
Written and recorded primarily in Marfa, Texas, during a transitional moment between records, cities, and relationships, Release the Dogs occupies it's own liminal space between the natural and the man-made, between the structures we create to keep ourselves safe and the terrifying enormity that exists beyond them. Throughout the record, organic and electronic elements are seamlessly woven together into a single fabric that can be both intimate and explosive. The fingerpicked guitars of "After You" appear no more or less "real" than the processed drum machine beats on album opener "Alight," just as the tarantula on the album's cover appears no more or less "real" than the white wall on which it sits. The magic of the image, and the magic of the record, is in the way they are framed together. Release the Dogs finds it's own unique voice by holding opposing ideas and aesthetics in tension with each other, and inviting the listener to find their own answer.
2019 release. Redd Kross invite you to explore Beyond the Door, an album inspired by the band's "total commitment to having the best f*cking time we can have while we're all still here" (what they like to call "the Party"). It's a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it's guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge.
King Gizzard are back with their 2nd album release of 2019, entitled Infest the Rats Nest, coming 8/16 via ATO Records! In complete contrast to the laid back, feel good vibes of Fishing for Fishies, Infest the Rats Nest is a full on thrash metal inspired assault and one of the most complex records the band has made in their extensive discography, their 15th album and counting!
In the words of Stu Mackenzie from the band: “In year 4 there was an older kid who was into Rammstein. I made friends with him and we put together a performance at our school assembly where we headbanged to ‘Du Hast.’ I got whiplash, which I thought was pretty cool. That was my introduction to heavy metal, and soon Rammstein led to Metallica, Metallica led to Slayer, Slayer led to Kreator and Sodom. The German bands really kicked my ass and scared the hell out of me too. Later on, when I picked up a guitar I realised that shit was too hard to play, so I got into rock ‘n’ roll and garage. That was liberating.”
"Yesterday, everyone knew The Beatles. Today, only Jack remembers their songs. From Academy Award®-winning director Danny Boyle and writer Richard Curtis comes a rock-n-roll comedy about music, dreams, friendship, and the long and winding road that leads to the love of your life – Yesterday, due in theatres June 28.After a mysterious global blackout wipes The Beatles from history, Jack, a struggling singer-songwriter, finds himself performing songs by the greatest band in history to a world that has never heard them.
Capitol Records – The Beatles’ U.S. record label – will release the Yesterday Original Motion Picture Soundtrack, which features new versions of The Beatles’ most beloved hits, performed by the film’s star, Himesh Patel. Album producer Daniel Pemberton, a two-time Golden Globe-nominated composer, has created a soundtrack that both reflects the film and stands alone as a true listening experience, begging to be heard from beginning to end. Most of the songs were recorded specifically for the album."
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Ride return with the 6th studio album of their career and their second since reforming in 2015 and signing to Wichita. As with their previous album, the highly acclaimed Weather Diaries, Erol Alkan was in the producers chair, whilst career-long collaborator Alan Moulder (with Caesar Edmunds) mixed the album. The albums title was inspired by one of the hobo code symbols once used by those who travelled the railroads of the US, and then found in the early artwork of Jean-Michel Basquiat. The phrase clearly resonates with the current state of the world politically and environmentally. This Is Not A Safe Place is arguably the Ride album with the broadest sonic palette thus far. You can hear sounds and styles that span their entire catalogue but, both musically and lyrically, this is clearly an album made by a band who love being back together and who are at the very top of their game.
Across the previous Slaughter Beach, Dog albums, Jake Ewald has crafted a specific sound. It’s one that incorporates pop music, indie-rock, folk, and just the faintest dash of punk in order to create something that’s accessible but still artistically rich. With Safe And Also No Fear, the band’s third album, Ewald has abandoned his usual practices in service of creating something that, try as one might, isn’t so easy to describe.
In the wake of 2017’s Birdie, an album awash in warm tones and bubbly pop hooks, Safe And Also No Fear can’t help but feel like a turn toward darkness. It’s not one that’s instigated by the outside world—as inescapable as it may be—but instead the dramatic shifts of a person’s interior life. Where Ewald once offered tightly woven vignettes about characters that mirrored the people in his life, Safe And Also No Fear finds him naked at the album’s center, questioning everything he knows about himself. Around him, bassist Ian Farmer, guitarist Nick Harris, and drummer Zack Robbins spin out songs that are dense, swirling amalgams of difficult questions and hard-earned realizations—the kind that can’t be expressed through the accepted structures of pop music.
Safe And Also No Fear is a bold gesture, not just because of the music contained therein, but because it required Ewald to interrogate his artistic tendencies, breaking himself of his habits in service of making something he never thought he could. That involved trusting his band, with whom Ewald collaborated for a full year of writing and recording. Unlike Birdie, where Ewald played every instrument, with Safe And Also No Fear everyone’s fingerprints are on it. Though the album is a product of Ewald committing to his vision, it’s also proof of the way that Farmer, Harris, and Robbins are able to expand Slaughter Beach, Dog’s sonic boundaries in subtle, evocative ways.
New studio album produced by Sturgill Simpson. The album cover artwork was done by Tony Moore (the Walking Dead, Deadpool, Fear Agent and Punisher).
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With their latest album Blood Year, Russian Circles forsake the sonic crossroads of divergent musical paths found on albums like Guidance and Memorial to offer up the most direct and forceful collection of songs in their discography. With guitarist Mike Sullivan, drummer Dave Turncrantz and bassist Brian Cook all residing in different states, Russian Circles have typically crafted their albums by piecing together song fragments and home recordings into meticulous texture-rich studio productions. But after seven tours in North American and five trips to Europe in support of 2016’s Guidance, the band made a conscious effort to approach the songs on Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerized grid, Russian Circles chose to track the foundations of the songs together in one room as complete takes without click tracks. While it retains the dexterity, multi-faceted techniques, and dramatic compositions that have been a trademark of Russian Circles since day one, Blood Year fully embraces the most forceful aspects of the band’s repertoire. The Album was expertly captured by Kurt Ballou at Electrical Audio in Chicago, the world-famous recording studio where they’d tracked Enter, Geneva, and Memorial.
School of Language is David Brewis, who also makes music with his brother Peter as Field Music. This is the third School of Language album, following on from Sea From Shore in 2008 and Old Fears in 2014.
This is an album about Donald Trump - his dubious rise in politics, his capricious behaviour while in office and the motley cast of characters he has surrounded himself with.
It’s not exactly a protest record, though it is shot through with anger. It’s definitely not a joke, though some of it is darkly funny. It is a tragedy and it is a farce. The songs are sung from different points of view, almost as if it’s a Donald Trump funk musical. One advisor sells Trump on the idea of a border wall. Another one feels he can’t quit because of the chaos that might follow. Rex Tillerson fumes at his plummeting status. Psychiatrists fret about the President’s mental stability. Hillary Clinton laments her loss. Trump himself brags and equivocates in his own unique, blustering style.
45 was written and recorded in a little less than two months during gaps in the schedule at Field Music’s studio in Sunderland. It was inspired by Bob Woodward’s book Fear, articles in the Washington Post, The New Yorker and The New York Times and by Nate Silver’s FiveThirtyEight. It was also inspired by James Brown, Sly and the Family Stone, The Meters, Otis Redding and Free.
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Limited pressing of blue colored vinyl ONLY available via your local indie record store
The groundbreaking band’s 10thstudio album, HOTEL LAST RESORT resides among Violent Femmes’ finest work, simultaneously refining and redefining their one-of-a-kind take on American music, mingling front porch folk, post-punk, spiritual jazz, country blues, avant garde improvisation, and golden age rock ‘n’ roll. Founded and fronted of course by Gano and Ritchie, the group remains as warm, wise and weird as ever before, with such new favorites as “Another Chorus” and “Everlasting You” continuing to mine the vast range of ideas, melodic complexity, and organic sonic craftsmanship that has characterized the band’s body of work since their landmark 1983 debut.
New York's B Boys (Andrew Kerr, Brendon Avalos, Britton Walker) find inspiration in the chaos that surrounds them: the aggressive attitude and sonic lawlessness of the city they live, work, and breathe in every day. Their raw, yet meticulous style is characterized by rhythmic complexity, commanding riffs, and introspective lyrics that are as playful and self-aware as they are cutting. Across two acclaimed releases on Captured Tracks-2016's No Worry No Mind EP and 2017's debut full-length Dada-B Boys explore solitude and self-reflection through sharp, high-energy shouts and melodic mediations. Now, the sprightly sarcasm and acerbic commentary continues on the band's highly anticipated sophomore LP, Dudu. Recorded by Gabe Wax (Deerhunter, Ought, Crumb) and mixed by Andy Chugg (Pill, Pop. 1280, Bambara) at Outlier Inn, to be released on July 26, 2019. B Boys have toured the U.S. and Europe extensively, supporting acts such as Parquet Courts, Merchandise, Shame, Sunflower Bean, and Oh Sees. Influenced by The Clash, Wire, and Talking Heads, Dudu finds B Boys picking up where they left off, pondering quotidien grievances while examining the bigger picture. On tracks like "Cognitive Dissonance" and "Automation, " subtle tensions meet agonizing pressure that softly build, then explode. "I Want, " featuring Pill's Veronica Torres, is a bright, feel-good critique of capitalism and greed. There's a lot of noise in the world, but what are we actually saying? On Dudu, B Boys take time to laugh, scream and chant their way through the absurdity of it all.
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Thom Yorke’s new album ANIMA released summer 2109 was written by Thom Yorke and produced by Nigel Godrich. The album features 9 tracks, with an extra track exclusively on vinyl. A ‘one-reeler’ film, also entitled ANIMA , is available to watch exclusively via Netflix worldwide from midnight 27th June. Made by Paul Thomas Anderson to music from Thom’s album, the one-reeler has a run time of approximately 14 minutes.
New Vinyl: $39.98 Buy
Live In Los Angeles was a covermount CD for The Mail On Sunday newspaper in Britain and Ireland, on 17th January 2010. It had been recorded during Paul’s unannounced performance at Amoeba Music in Los Angeles on 27th June 2007: a free show, inside the mammoth Hollywood record store. In the audience, small children and grandparents rubbed elbows with the likes of Ringo Starr and Woody Harrelson. All tracks performed by Paul McCartney, Rusty Anderson, Abe Laboriel Jr, Brian Ray, David Arch.
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Choba B CCCP, the Russian translation of “Back In The USSR”, was released in the Soviet Union in 1988, making Paul the first artist from the West to issue an album exclusively for that market. (It was released in the rest of the world following the collapse of the Soviet Union in 1991.) Ruminating on the next stage of his career following 1986’s Press To Play, Paul decided he wanted to get back to his roots, so hired three session musicians and spent just two days covering his favourite hits.
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Paul Is Live, recorded during the tour in support of Off The Ground, was Paul’s fifth live album and is famous for its title’s double meaning and the rumour-scotching cover art. Ever since the 1969 release of Abbey Road, there had been hoax-fuelled stories of Paul’s untimely death. The new title was a way of saying that this was most definitely not the case. The artwork is a play on the famous Abbey Road cover, with Paul crossing that same street but wearing shoes and using his left hand.
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Selected from 90 hours of recordings, Wings over America is a faithful account of the 1975-76 world tour that captures the band at its peak. It was taped at several of the US shows, but mixed as if it were a single performance. Paul combined old Beatle favourites with highlights from a solo catalogue that was now achieving real stature. Though an expensive triple disc on vinyl (it had been planned as a double, but a rival bootleg version encouraged Paul to expand it) sales were remarkable.
With their sublime second album, Palace have pulled off a rare pop trick with Life After. Songs steeped in darkness emerge into light, from bleak situations spring fresh starts. Bathed in the band’s atmospheric alt-rock, the future feels brighter and more optimistic. Life After is both an album about loss and a manual to moving on.
Washington, DC's Gauche present A People's History of Gauche, a collective catharsis of anger, frustration, and trauma through creativity. Jason P Barnett, Adrienne CN Berry, Mary Jane Regalado, Pearie Sol, and Daniele Yandel find their agency and joy through creating and performing music together in 36 minutes of groove-filled power punk. Gauche bring us music and movement and struggle and light, and now it is our job to dance!
Imperial Teen’s releases over the past 20+ years have been pointed and specific diaries of musical celebration, windows into the hypersensitive personal drama of relationships within the band, individual conquests and failures, and collective, aspirational hopes, dreams, and perspectives. Roddy Bottum, Will Schwartz, Jone Stebbins, and Lynn Perko Truell—who they’ve become, how they are dealing, and what their lives are in 2019—all of this is on Imperial Teen’s Now We Are Timeless.
A culmination of life and musical experience, uncompromising in its vision, STONECHILD, the new studio album from Jesca Hoop is a self-described compassion project.Released on July 5th by Memphis Industries, STONECHILD is Hoop refined and defined. Beautiful, subtle and stark, her fifth album, the follow up to 2017s highly acclaimed Memories Are Now, is her best yet. Despite being a long-term resident of Manchester, Hoop, has until now, returned to her native California to record. This time round however, it was according to Hoop time to step out of my comfort zone, my safe place, venturing south to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding, This is the Kit). Parishs minimal and purist approach helped clarify Hoop in her ideas and subtly yet effectively realigning her sound. The simplified arrangements draw focus to the fundamental sophistication of the songs.While Hoops trademark finger-plucked guitar and ethereal textures remain, the songs and their presentation are ever more direct. Parish was a gentle collaborator until he killed one of my darlings Hoop jests. Ive never been so brutally edited, and I wasnt shy about expressing my discomfort at the sight of my work on the cutting room floor. He said, you will forgive me, and in some way, I think I actually enjoyed that treatmentbeing stripped back to the bare basicsalbeit painfully. STONECHILD ventures further into fresh territory with other voices joining the narrative, with Kate Stables (aka This is the Kit) Rozi Plain and Lucius singing the choruses and expanding the sensual depth of the sonic bloom.STONECHILD, Hoop says, is intended to wrap its arms around our human planet spinning in its increasingly precarious wobble. These rich and curious songs derived from themes of our troubled times speak Hoops heart and mind from her empathetic yet tough loving centre point. With writing so fluid, so natural the result is an album where everything is truly meant.