Following the ever-emotive Boo Boo, Toro Y Moi’s new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package. As both a producer and designer, Bear utilizes abstract sound pairings with recognizable samples for his most pop influenced record to date, including features from ABRA, WET, and Instupendo. This is no departure from his funk and disco roots, which can be heard on “Ordinary Pleasure”, later fusing into variations of house with tracks like “Freelance” and “Laws of the Universe.” Smooth interludes melt into fast paced beats, paralleling the feeling of driving through the Bay Area, where Bear spent most of his time writing the album. Outer Peace is duality. It embodies whatever form you choose to inhabit in the moment. Listen and let your imagination become the universe.
New Vinyl: $24.98 $22.48 Buy
How do you describe an album out of time, concerned with the disappearance of culture, of humanity, of nature, of logic and emotion? Why make this album in an era when attention spans have been reduced to next to nothing, and the tactile grains of making music have been further reduced to algorithms and projected playlist placement. Why wake up in the morning? Why hasn’t everything already disappeared? Deerhunter’s eighth LP forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across north america. It comes home, restructures itself and goes back to bed to avoid the bad news. From the opening harpsichord and piano figures of Death in Midsummer, it is impossible to tell where the record came from. Is No One’s Sleeping an outtake of an aborted Kinks recording session in 1977 Berlin with Eno producing? No. That is nostalgia. If there is one thing Deerhunter are making clear it is that they have exhausted themselves with that toxic concept. What they spend their time doing instead is reinventing their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth. The result is as thrilling, haunting, and unpredictable as anything in their roughly 15 year career. Deerhunter have made a science fiction album about the present. Is it needed right now? Is it relevant? Perhaps only to a small audience. DADA was a reaction to the horrors of war. Punk was a reaction to the slow and vacant 70’s. Hip Hop was a liberated musical culture that challenged the notions presented wholesale about the African-American experience. What is popular music today a reaction to?
Fast on the heels of 2018's acclaimed 'Juliana Hatfield Sings Olivia Newton-John' comes Juliana Hatfield's self-produced all-originals album, Weird. Freda Love Smith (Blake Babies, Sunshine Boys) and Todd Philips (Lemonheads, The Juliana Hatfield Three) each played drums on multiple songs while Hatfield played all of the other instruments (and some additional drums). Weird is an album about disconnection and discomfort. ''I often feel cut-off from other people, from my feelings, from technology, from popular culture,'' says Hatfield. ''I feel weird, I feel like I'm dreaming my life and that I am going to wake up some day.'' While Hatfield's songs-melodies and lyrics and structures are meticulously crafted, her guitar parts are loose and sometimes a little unhinged; first-take expressions of this temperamental uneasiness. ''Personally, I feel like a malfunctioning machine. There's a screw or two loose. I want my guitar playing to reflect that.''
Limited clear vinyl LP pressing. 2019 release from the acclaimed singer/songwriter, his first studio album since 2016's More Rain. What A Wonderful Industry takes on a subtler shade of music industry beef, writing about the heroes and villains he's encountered over 20 years. M. Ward: "This album is a reminder to keep your friends close, your enemies closer and don't let the ones that just need an extra couple hours of therapy bring you down." M. Ward's solo work is a mixture of folk and blues-inspired Americana analog recordings; he has released nine albums since 1999, primarily through independent label Merge Records. In addition to his solo work, he is a member of pop duo She & Him and folk-rock supergroup Monsters of Folk, and also participates in recording, producing, and playing with multiple other artists.
Pedro the Lion has always been David Bazan, but it took a long time to get back there.
In August 2016, during what he now recognizes as his lowest point, Bazan was touring the country alone in an aging minivan and found himself in his hometown of Phoenix, AZ. In need of a break from the road, he spent a night off at his grandparents’ house instead of driving on to San Diego. Before leaving town the next morning, after realizing that even the most familiar places can become unrecognizable, Bazan gave himself the gift of a quick detour past the house he grew up in, and on the way, experienced a breakthrough - one that would lead him both forward and back to another home he had built many years before.
From the beginning, Pedro the Lion didn’t work like the bands Bazan had played drums in, where each player came up with their own parts. Instead, like scripting scenes of dialogue for actors to play with, Bazan recorded and arranged all of the skeletal accompaniments for his obsessively introspective lyrics and spare melodies. Each player would then learn their parts and, together as a band, they brought the skeleton to life. While bandmates played on a few recordings, Bazan often played all or most of the instruments himself.
“I found so much joy working this way,” Bazan remembers. “It came naturally and yielded a feeling and a sound that couldn’t have existed by any other process. At the same time, I was also aware that not everyone wanted to play in a band where the singer wrote all the parts and might perform them on the record. Someone even suggested it might not be a valid approach to having a band in the first place. Being insecure and wanting to find camaraderie, I became conflicted about my natural process.”
By 2002, after recording Control, the high rate of turnover in the band finally caused Bazan to ditch his “natural process” in favor of a collaborative writing process. When, after a couple more years, this move did nothing to stabilize turnover, Bazan was perplexed. In November 2005, Bazan decided to stop doing Pedro the Lion altogether.
Ironically, Bazan didn’t see “going solo” as a chance to revert back to his original process of writing and playing all the parts. For the next decade Pedro the Lion felt off limits, even forgotten, like a childhood home Bazan had moved out of. He pushed forward with releasing solo albums & relentless touring in living rooms and clubs, through every part of the US and beyond, sometimes with a band, but mostly on his own. It took a toll on his family and more acutely on himself. By the summer of 2016, he still hadn’t found the personal clarity or the steady collaboration he’d been seeking and was at the end of his rope.
“I had abandoned my natural way of working in the hopes of creating space for a consistent band to write with...and it hadn’t worked. So I got a rehearsal space, mic’d up drums, bass, and guitar, and really leaned into my original process again. It immediately felt like like home. Before long I realized it also felt like Pedro the Lion.”
In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix, the first new Pedro album in 15 years.
After rising to fame two years ago in 2016 with her explosive debut 1 Million selling single 'No Roots' (Mom + Pop), written about her constant moving homes as a child becoming such as huge debut, its safe to say its been a whirl wind for Alice Merton with 124 Million YouTube hits to date. She also gained 6+ Million streams, toured the US supporting the brilliant Vance Joy, championed by Billboard Magazine, Rolling Stone Magazine with Performances on Jimmy Fallon's The Tonights Show and James Corden's Late Late Show, Live With Kelly and Ryan, and even a recent 2018 Teen Choice Awards Nomination in 'Best Rock' category. Merton's debut album, Mint, will be released on January 18th and featured "No Roots", "Lash Out" and her newest single "Why So Serious".
For over a decade, guitarist/vocalist Steve Gunn has been one of American music’s most pivotal figures - conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced). Gunn is known for telling other people’s stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. The lyrics evoke voyages, tempests (actual and emotional), and a rich cast of characters met along the way -- the work of an artist finding a place of calm in the midst of a storm. Produced by frequent collaborator James Elkington and engineered by Daniel Schlett, the immaculately recorded Unseen forces a reassessment of Gunn’s standing in the pantheon of the era’s great songwriters. Getting to The Unseen In Between itself was not easy for Gunn. In the summer of 2016, Gunn released Eyes On The Lines, his winning and elliptical debut for Matador. It should have been a triumphant moment, but exactly two weeks later, Gunn’s father and namesake died following a two-year struggle with cancer. This experience yielded the emotional centerpiece of the album. “Stonehurst Cowboy” is a duet for Gunn’s raw acoustic guitar and spare basslines by Bob Dylan’s musical director Tony Garnier, whose featured throughout the album. The song distills the lessons Gunn learned from his father and it is a solemn but tender remembrance, a tribute to his father’s reputation as a tough, wise, and witty guy from far west Philadelphia. A sense of musical renewal and emotional complexity fits the new songs perfectly; “Luciano” seems to be about the chemistry between a bodega owner and his cat, an unspoken romance of gentle obedience and quiet gestures. But Gunn peers below the relationship’s surface and wonders about the owner’s lonely future once the cat is gone, a devastating meditation wrapped in soft strings. And then there’s “Vagabond,” Gunn’s graceful attempt to humanize a rich cast of characters whose lives have gone astray, wanderers who live outside of society’s modern safety net, who pursue “a crooked dream” in spite of what the world expects. Supported by the perfect harmonies of Meg Baird, Gunn finds something lovely in the unloved. In a final contrast, “Morning is Mended” is an acoustic beauty so resplendent it ranks alongside Sandy Denny or Jackson C. Frank. Buoyed by a melody that sparkles like sunlight on still water, Gunn acknowledges the hardships around him, the feeling of being a “nothing sky,” and then moves forward into the world, walking tall into the fresh morning. The song is an apt encapsulation of The Unseen In Between, a gorgeously empathetic record that attempts to recognize the worries of the world and offer some timely assurance. It is a revelatory and redemptive set, offering the balm of understanding at a time when that seems in very short supply.
From their unassuming origins as a group of school friends drawn together by a shared passion for music to the global touring force (supporting The Cure and Editors at arenas and stadiums), they have quietly become, The Twilight Sad's ascent has been forged the old way with grit, graft and four exceptional studio albums. Now signed to Mogwai's Rock Action Records, the bands fifth album does not disappoint and will certainly not disappoint fans of their previous works. It will also appeal to fans of The Cure, Frighten Rabbits, The National, Interpol and Editors.
Guster's latest studio album Look Alive was produced by English musician, composer, and producer Leo Abrahams (Regina Spektor, Brian Eno/David Byrne, Belle and Sebastian, Chromatics). The forthcoming LP maintains the band’s unique charm while charting new sonic and lyric pathways. It will be available on CD, vinyl, and digitally.
Timing matters. With our without you the train is departing; the second hand doesn't really stop when you won't wind your watch; inspiration strikes in an instant but its reckoning can take an eternity. In the world of music, the concept of time doesn't just pertain to cues to come in or a 4/4 beat -- it is also equally about patience and the space an artist must allow themselves to create. So for Christina Cone, the leader of the Nashville-based soulful indie-pop band Frances Cone, Late Riser, the title of her first album since 2013, is a nod to that notion, and her band's growing achievements.
Old Sea Brigade releases his highly anticipated full-length debut Ode to a Friend. While the songs remain rooted in Americana, indie, rock, and ambient soundscapes, they also toss and turn between analog cinematic flourishes and provocative lyricism. At times singer-songwriter, other times indie-rock – no matter the inspiration behind the mélange of styles, Cramer has created a soundscape of the utmost sincerity and beauty. Throughout Ode...Old Sea Brigade tackles one of life’s most complex crises: how to make each day’s fleeting moments amount to something. It's these deeply introspective, meditative songs that make Old Sea Brigade so compelling.
Double vinyl LP pressing. Twenty is a career retrospective, celebrating 20 years of Taking Back Sunday. The collection spans all seven of their full-length studio albums: Tell All Your Friends, Where You Want To Be, Louder Now, New Again, Taking Back Sunday, Happiness Is and Tidal Wave. Whether your introduction to the band was singing along to "A Decade Under The Influence" in a sweaty club or hearing "MakeDamnSure" or "Sink Into Me" on the radio, Twenty is a look back at some of the highlights from this genre-defying band. Additionally, fans will be able to hear newly recorded songs, which hint at the direction that Taking Back Sunday are heading in the coming years.
Debut EP from 19 year old Norwegian indie pop star released for the first time on vinyl. Originally released digitally in May 2017, the six song EP features the singles “Everytime” and “Dance, Baby.” Limited pressing will be on 140g white vinyl.
Soy Pablo is the sophomore EP from Boy Pablo, Norway’s new indie pop sensation, now available on vinyl. Originally released digitally in October 2018, the seven song EP features “Sick Feeling” and “Losing You.” Limited pressing will be on 140g light blue vinyl.
New Vinyl: $84.98 $76.48 Buy
Rick and Morty is the critically acclaimed, half-hour animated hit comedy series on Adult Swim that follows a sociopathic genius scientist who drags his timid grandson on insanely dangerous adventures across the universe. Rick and Morty stars Justin Roiland (Adventure Time), Sarah Chalke (Scrubs), Chris Parnell (Saturday Night Live) and Spencer Grammer (Greek). The series is created by Dan Harmon (Community) and Roiland who also serve as executive producers. •Rick and Morty was the most-watched TV comedy of 2017, and the second-most-watched show overall, among adults 18-24. •The Season 3 premiere (via a secret, internet-only stream) registered 3M unique visitors via Adult Swim's site. The corresponding Facebook live stream recorded 43.3M impressions and 8.7M video views. •The season 3 finale drew 3.9M viewers in the 18-24 range and was the most-watched telecast of the day with adults 18-24, 18-24, and 18-49. •Rick and Morty was recently renewed by Adult Swim for an unprecedented 70 episodes (the past season was ten episodes). This release is the first official collection of music from Rick and Morty. All formats feature 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show. The box set includes a special bonus track on a 7”.
VENOM – the hugely influential British heavy metal trio widely revered for driving and shaping many aspects of the music, including black and thrash metal, plus their instinctive blending of metallic power & punk spirit – will release their new studio album, Storm the Gates this year.
Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her 2017 Polaris Prize-winning album La Papessa charts Pimienta’s evolution into an independent woman and artist who refuses to fit into pre-conceived notions of what a pop Latina artist ought to be.
Cold War Kids' first ever compilation album covering the band s first 10 years with Downtown Records. The 23 track 2CD album includes the band's radio singles as well as deep cuts and rarities never before released, such as the track 'Expensive Tastes'.
Jeff Tweedy will release, WARM, a solo album of all new material on November 30th via dBpm Records. WARM was produced and recorded entirely by Jeff at Chicago’s now legendary studio, The Loft (with help from some of his usual collaborators – Spencer Tweedy, Glenn Kotche and Tom Schick). WARM follows the acoustic retrospective release, Together at Last (2017), and Wilco’s 2016 album, Schmilco. The incredible liner notes for WARM were written by George Saunders. Jeff’s long-awaited memoir, Let’s Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, Etc., is out November 13th via Dutton
DANIEL ROMANO FINALLY FREE Finally Free marks Daniel Romanos eighth long playing album in the last eight years. He has had what understatedly would be considered a prolific output of incredibly entrancing, poignant and creative records in this span of time. Recording, producing, designing and landing his records into the minds and hearts of scores of fans the world over. He has been called a shapeshifter, contrived, a chameleon, a Charlatan, the best living songwriter, an asshole and a genius. His last record, Modern pressure received outstandingly high acclaim and praise from every notable publication out there and was acknowledged by most reputable for-profit-prize-corporations as well as a plethora of voguish music-as-competitive-sport year end lists. Despite being the bronze placeholder in most of these dogfights, he is most often noted as a person of astounding influence on all of his musically economic successors. No matter what he does, everything he puts out is better than anything else being put out by anyone else. Unnamed Subjugate.
Blake Mills is a guitarist, composer, and Grammy Award nominated producer. "Look" is a concentrated soundscape experience inspired by Japanese synth guitars from the 1970's. An exciting excursion from his previous singer-songwriter material, this release fits in line with similarly groundbreaking records such as Brian Eno's "Music for Airports"
For his new album Upside Down Flowers, out November 16, 2018 via Fantasy Records, Andrew McMahon in the Wilderness teamed up with noted producer and acclaimed musician Butch Walker (Pink, Weezer, Panic! At The Disco). Featuring standout tracks like 'Ohio,' 'Teenage Rockstars' and 'Paper Rain,' the album is a striking collection of wistful and biting tunes that reflect the past and our chaotic present.
Near the end of Reagan's first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis. A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J's songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J's own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc) among others. But the show is mostly J's and J's alone. He laughs when I tell him I'm surprised by how melodic his vocals seem to have gotten. Asked if that was intentional, he says, “No. I took some singing lessons and do vocal warm-ups now, but that was mostly just to keep from blowing out my vocal cords when Dino started touring again. The biggest difference with this record might have to do with the drums. I'd just got a new drum set I was really excited about. I don't have too many drum outlets at the moment, so I played a lot more drums than I'd originally planned. I just kept playing. [laughs] I'd play the acoustic guitar parts then head right to the drums.” There is plenty of drumming on the dozen songs on Elastic Days. But for those expecting the hallucinatory overload of Dinosaur Jr's live attack, the gentleness of the approach here will draw easy comparisons to Neil Young's binary approach to working solo versus working with Crazy Horse. This is a lazy man's shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (“Web So Dense”) to jazzily-canted West Coasty post-psych (“Give It Off”) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (“Drop Me”). The album plays out with a combination of holism and variety that is certain to set many brains ablaze. J says he'll be taking this album on the road later in the year. He'll be playing by himself, but unlike other solo tours he says he'll be standing up this time. “I used to just sit down and build a little fort around myself -- amps, music stands, drinks stands, all that stuff. But I just realized it sounds better if the amps are higher up because I'm so used to playing with stacks. So I'll stand this time.” I ask if it's not pretty weird to stand alone on a big stage. “Yeah,” he says. “But it's weird sitting down too.” Ha. Good point. One needs to be elastic. In all things. --Byron Coley
Old 97's founding member Rhett Miller returns with his 7th solo album, The Messenger. Recorded earlier over five days at The Isokon in Woodstock, NY with producer/musician Sam Cohen (Kevin Morby, Benjamin Booker), The Messenger sees Miller playing it faster and looser than perhaps any other time in his quarter century career, instilling what might be his most personal songs to date with a groovy limberness that belies the reflective darkness within. Backed by a white hot backing combo comprised of Cohen (Electric & Acoustic Guitars, Pedal Steel Guitar, Piano, Organ, Second Drumset), Brian Betancourt (Bass), and Ray Rizzo (Drums), Miller goes deep into his own youthful experiences with suicide and depression, placing "a long distance phone call to myself as a 14-year-old" on surprisingly buoyant new songs like "The Human Condition" and "Permanent Damage."
Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.
Micah P. Hinson is an old fashioned trouble man who fell prey to drugs and loose women, winding up homeless, destitute and incarcerated by the time most of his peers were filling out college applications. Music was his savior, and since his 2003 debut, he s pieced together a life for himself in his sleepy hometown of Abilene, TX. Recorded in 24 hours somewhere in east Texas, the new album is the follow up to last year's universally-lauded, Micah P. Hinson Presents the Holy Strangers.
Fleet Foxes and Sub Pop present a limited-edition collection in honor of the 10th anniversary of Fleet Foxes’ debut LP. First Collection 2006–2009 spans the early days of Fleet Foxes’ career, including the self-titled debut album, plus the Sun Giant EP, The First EP (formerly a self-titled, very limited-edition, self-released EP), and B-sides & Rarities. The vinyl version is packaged in a lavish box, with a 12” LP of the debut album and separate 10” records for each of the added titles; the CD version has a separate CD for each title. In addition to its musical offerings, the collection features a 32-page booklet including show flyers, lyrics and artwork from band’s early history.
Jon Spencer, the Blues Explosion man who put the "Bellbottoms" on Baby Driver! The top cat who spread the secret sauce in Boss Hog! The rockabilly right-hook from heavyweight outlaws Heavy Trash! The swank-fucking master of Pussy Galore! Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last! This is Garage Punk for Now People! A wizard's brew of rhythm and blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover. Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Spencer opens up his heart like never before, exploring man's modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, "Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock 'n' roll?" The answer is yes-on Spencer Sings The Hits! This is the truth serum America has been craving, the beginning of a rock 'n' roll rebellion that takes no prisoners and puts the squares on ice!
The verb, the noun, the substance, the action, the command: make a mark! With that, PAINT (guitarist/singer Pedrum Siadatian of the Allah-Las), is making his mark too with his first, self-titled solo record.
PAINT started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) fed or led by a certain acid-bitter poetry and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer in Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio.
Think of it this way: PAINT’s first album isn’t always clean, but it’s very very clear. Sometimes the mess is the message.
February 16, 2018 marked the 10-year anniversary of the first show ever played by Los Angeles natives Touche’ Amore’. To celebrate this anniversary the band played their 1000th show at the Regent Theater in downtown LA , and this incredible event was captured on their new live album, 10 Years/1000 Shows – Live At The Regent Theater
Since the early 90s Sweden’s Opeth have stretched the boundaries of heavy music. From the progressive death metal the band began with on classics like “Orchid” and “My Arms, Your Hearse” to the records like “Blackwater Park” and the band’s recent record, 2016’s “Sorceress”, Opeth has continually invited their growing audience along with them as they grew into the musically respected band they are today. Filmed and recorded in 2017 at Red Rocks Amphitheatre outside of Denver, “Garden of the Titans (Opeth Live at Red Rocks Amphitheatre)” is a 2-CD/BLU-RAY + DVD release (along with several vinyl color formats) consisting of tracks spanning the band’s nearly 30 year career.
While recording Unknown Mortal Orchestra’s latest release, Sex & Food, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi playing and recording with local musicians at Phu Sa Studios. The studio, normally used for traditional Vietnamese music, found the band jamming on sessions dubbed IC-01 Hanoi: exploring the outer edges of the band’s influences in Jazz, Fusion and the avant-garde. The musicians, along with Ruban and Kody’s father, a Jazz musician in his own right, helped lay down the unique textures heard throughout Hanoi. At its core Hanoi is a record of exploration, finding its closest antecedent in Miles Davis’ experimental On The Corner – itself a record full of nods toward avant-garde composers and Jazz outsiders alike. Hanoi finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. Kody and Jacob match Ruban’s melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on Hanoi.
Take a tour through Ty Segall's musical psyche with his new solo album, Fudge Sandwich, a collection of Segall's take on eleven songs that were originally done by other people. These aren't just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song's intent, filtering it through the muse that drove this year's exceptional Freedom's Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album's end, present a cohesive collection that stands proudly alongside the best of Segall's considerable output.
Saves The Day have been through a lot over the past two decades: Van accidents, member changes, the emo explosion, and the adventures that carried the act and their fans from adolescence to adulthood. But they’ve never had a proper history of the band… until now. Saves The Day’s ninth album 9 tells the story of the band from the perspective of the band’s founder Chris Conley and does it in a way that’s as exhaustive as it is poetic and makes the listener a part of the songwriting process. From a narrative standpoint, 9 chronicles the epic story of a group of kids from New Jersey who realized their dream and became international sensations. However, on a more existential level, it shows how Conley “woke up” and became aware of his own consciousness through his relationship with music and the unbelievable adventures it inspired since he formed the act in 1997.
Aviary is LA composer Julia Holter's most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a short story by Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also agood metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void.
New Vinyl: $34.98 $31.48 Buy
Original score music from Radiohead’s Thom Yorke, including 5 original songs, soundtracking the forthcoming remake of Dario Argento’s cult classic “Suspiria.” The Luca Guadagnino directed film stars Dakota Johnson & Tilda Swinton.
Oh Pep! have returned with their second full-length that takes their alt-folk to a whole new level of delicious pop. Chock full of memorable hooks, sing-along moments I Wasn't Only Thinking About You…, proves itself as a career-defining feat. The band gets its Oh from Olivia 'Liv' Hally (vocals, guitar) and its Pep! from Pepita Emmerichs (violin, mandolin), who met at secondary school in Victoria. Their harmonies are sweet, with lyrics that are thoughtful, deep, funny and poetic.
Wick Records is honored to release the sophomore long player from Virginia's Troglodytic Troubadours, the group with the antediluvian je ne sais quoi: The AR-KAICS! Recorded in three days at Adrian Olsen's Montrose Studio and Produced by Wayne Gordon (Black Lips, King Gizzard..., John Spencer Blues Explosion, Michael Rault,) In This Time is a low brow journey through the teen-beat sounds of the 1960's... AND BEYOND! From the opening crude thud of "Don't Go with Him, the Velvet Underground-tinged swagger of "She's Obsessed with Herself", the breezy, late-period psych of "Long Way Down," to the unpretentious, sap-free balladry of "It's Her Eyes," The Ar-Kaics flex their deft understanding of the subtle intricacies that define bonafide garage rock. A must for fans of the Back from the Grave compilations.
Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form — the unhinged, feverish, guitar-heavy sound that they explode with onstage — without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”
Empress Of's debut album Me was released in 2015. As the name suggests, it presented a personal exploration of her emotional world. So personal, she says, it was difficult to perform. With Us, Rodriguez wanted to facilitate a more equal exchange of energy between herself and her listeners, to create a "community." "It's not just love songs. It's about different experiences of the heart," she says. "I want it to be like a mirror, and [the audience] sees a little bit of themselves in every song."
Stay Out Late is ultimately, the end result of understanding who we are, and more importantly, who we are not.
This will be our 15th year as a band, and our 5th record overall. In the years preceding the making of this record, we all had to define what it meant for us to be happy making music. There are certain mechanisms and tropes we all fall into as a result. And as hard as we may try to emulate what we consider to be higher art, or rather, classic music; we always end up with a Buxton record.
Sergio couldn't write for almost 2 years after 'Half A Native'. The answers to "why" had run dry. We all saw each other, hung out and everything was like normal. I can't really pinpoint the moment it all made sense again. The question had suddenly changed to "why not" and we were back in the studio making demos. There was a lurking sense that nobody would ever hear these songs, and that lead to a sort of creativity I'm not sure we'd really experienced before. All ideas were on the table, and more importantly they stayed on the table.
There are a handful of truly great masterpieces and the attempt of achieving that is one of the most daunting and exhausting pursuits any artist can take on. In the van we're constantly educating ourselves and finding new and in many cases old points of inspiration. Whether it be Mark Hollis, HC McEntire, Mickey Newbury or rediscovering the genius of Bette Midler, we find ourselves at the mercy of our own limitations of expression. Yet somehow in our most vulnerable project, we're simultaneously the most comfortable in our skin as we've ever been.
The core of this record is about being in it for the long haul, looking back, and being able to accept it all. We can only hope that the listener can in some way share and make tangible the joy that went into making this record.
Following twenty albums over 50 years, Yoko Ono's Warzone is a strikingly different record from those she has previously made. Revisiting and reimagining 13 songs from her past work, spanning 1970-2009, the lyrics and messages are still pertinent perhaps even more pertinent-in 2018. Recent US presidents and many of our world leaders have never served in the military, yet they continually nourish and serve the corporate-infused military industrial complex, keeping the world in a perpetual warfare. Warzone further builds the legacy of an artist unparalleled in her unique and singular vision. With it's stripped down recordings and arrangements, and a particular emphasis on Yoko's voice and lyrics, the content of her message rings clear and unencumbered, with wisdom and fortitude her power has intensified with time and life experience.
A new live record from the San Diego 3-piece! Seven tracks total (eight on digital), “From the West” is a collection of new live material from the band’s recently released “Black Heaven” album (Mar 2018) as well classic Earthless tracks like “Acid Crusher” and more! CD & digital by Nuclear Blast
A new album from How To Dress Well, titled The Anteroom, will be out October 19th on Domino. Co-produced by Joel Ford (Ford & Lopatin, Airbird), this record plays as a single continuous piece of 21st century psychedelic music and features Krell’s most bewitching sound experimentation to date. Moreover, the stories Krell sings on this record – some biographical, many from the most knotted corners of human life – are deeply personal and human(e). The Anteroom - with its blizzardous electronic noise, fragile melodies and poignant poetry - reclaims the experimental core of the HTDW project.
How do we conduct ourselves in extraordinary times? By what metric do we judge our own capacity to make change? In an era where the signal-to-noise ratio is more uneven than ever, what are the measures we must take to retain and remember our own personhood? Neneh Cherry's extraordinary fifth solo album, Broken Politics, asks these questions and more-searching for answers, patiently and with great care, and with a fearlessness to acknowledge that sometimes the answers don't even exist. It's a record that's equal parts angry, thoughtful, melancholy, and emboldening, as Cherry and her collaborators continue to expand her ever-widening sonic palette to craft truly singular and potent electronic pop.
State of Euphoria is the fourth studio album by the American thrash metal band Anthrax. It was released on September 19, 1988 through Megaforce/Island Records. The album was produced by Anthrax and Mark Dodson, with Alex Perialas engineering and reached No. 30 on the Billboard 200 chart in late 1988. The songs "Who Cares Wins", dealing with the plight of the homeless, and "Antisocial" were released as singles with accompanying music videos. For the 30th Anniversary, UMe is releasing the album newly remastered by the bands long time drummer Charlie Benante and featuring previously unreleased outtakes from the bands own archive and rare demos on 2 LPs
Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next. Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music—not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.” These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with Australian singer-songwriter-guitarist Courtney Barnett, opened for Neil Young in front of 90,000 people in Quebec, famously became a clue on Jeopardy, hung out with friends, took vacations with his wife and daughters. “I’ve been bouncing around a lot and recording all over. My family would meet me in the middle of America, and we’d go on a road trip somewhere. I would record in between all that stuff.” As Vile prepares for another round of lengthy tours and countless shows, these songs should prove good company, reminders of the love and responsibility he has toward those he leaves at home and those he meets along the way. That makes the sentiments resonate more strongly and lends Bottle It In an emotional weight. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.” “Impeccably recorded and mixed songs that shuffle bits of folk, new wave, or country in the mix but are always squarely down-the-middle rock.” Mark Richardson, Pitchfork “Vile’s self-awareness is as appealing as his melodies, and he’s stoked a reputation as a bit of a slacker maharishi—at the very least, a look inside Vile’s head might make you think a bit more deeply about what’s going on in your own.” The New Yorker
This reissue celebrates the tenth anniversary of The Helio Sequence’s landmark album Keep Your Eyes Ahead with a full remaster of the original album, plus a second album of demos, alternate versions, and outtakes from the same era. After 3 albums and ten years of touring and recording, The Helio Sequence (Brandon Summers and Benjamin Weikel) recorded their most dynamic, extraordinary album, Keep Your Eyes Ahead. Keep Your Eyes Ahead married the Portland duo’s signature layered keyboards and impossibly big guitars with crisp songwriting and a relatively minimalist approach. The finger picking on “Shed Your Love” is backed by exquisite strings and ambient noise, but Summers’s serene, self-assured delivery remains front and center. While songs from the band’s early releases spanned up to 7 minutes, even the longest, lushest, catchiest track on Keep Your Eyes Ahead (fiery anthem “Hallelujah”) clocks in at 4 and a half minutes, evidence of just how refined their craft had become. Vocals were recorded spontaneously in bedroom closets and living rooms, which may explain the haunting urgency you hear in Brandon’s voice, especially on the driving title track. Produced by the band, Keep Your Eyes Ahead confirms in The Helio Sequence an energy and a range that continues to defy narrow categorization. Unapologetic pop and folk meld seamlessly to create songs that are bigger, more epic and polished than anything they’ve ever done. Keep Your Eyes Ahead is the sound of a band and a decade-old partnership that’s been invigorated. And that’s exactly how the songs will make you feel: invigorated.
Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor o shoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography. Bunny is the name of Matthew Dear’s fifth album. His first since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones.” Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.
Jerry Paper is the creative persona of Los Angeles-based multi-instrumentalist, songwriter and producer Lucas Nathan. Like A Baby is his first album for Stones Throw. Nathan cites a vast pool of influences on his music, from fellow pop outliers Prefab Sprout, Todd Rundgren and Steely Dan - a deep source of inspiration for me - to classic R&B, Stereolab, avant-garde Brazilian artists, and Japanese electronica. Inspired by a move from NYC back to Nathan s hometown of LA, Like A Baby explores existential themes tied to the endless human cycle of desire and satisfaction.
The Bright Light Social Hour is if you combined Cat Stevens with a bit of Philadelphia Soul, a splash of Stax and a ton of Can. Maybe not? Combine your own list of bands… that would be The Social Hour as long as none of the bands suck. Their new EP, Missing Something, was self-produced, mixed by Jim Eno (Spoon) and mastered by Dave Cooley. Press includes; Huffington Post, Austin Chronicle, Glide Magazine and Remix. There will be regional touring, a campaign at AAA, comm specialty and college radio for "Trip With Lola," and two videos. The LP is 180g, translucent pink vinyl.
The eighth album from Marissa Nadler, For My Crimes, is the sound of guilt giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. Following the release of 2016’s acclaimed Strangers, Nadler’s new marriage was put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career. Bolstering the intimacy of these songs is the strong feminine energy that defined their recording. Between Rothman’s fluidity with both gender and genre (as heard on his 2017 album The Book of Law), and Raisen’s track record of successful collaborations with strong women (Angel Olsen, Kim Gordon, Charli XCX), Nadler felt empowered to explore without judgment in the studio. With the exception of a single saxophonist, every player on the album is a woman of notable pedigree and distinct style, many of whom have played with Nadler over the years. In addition to cameos by Angel Olsen and Kristin Kontrol, Sharon Van Etten sings backup on “I Can’t Listen to Gene Clark Anymore” and “Lover Release Me.” Mary Lattimore joins on harp for “Are You Really Gonna Move to the South,” while the great experimental multi-instrumentalist Janel Leppin plays strings throughout the record.