King Gizzard & The Lizard Wizard have announced Chunky Shrapnel, a new music documentary film and accompanying double-LP live album. The new album features 13 live performances hand-picked from the band’s 2019 UK and European tour, and includes three new musical scores written by Stu Mackenzie that add a magical touch of an alien melancholy throughout the record. Chunky Shrapnel is an experience geared towards not only recreating the energy of a live concert, but creating something tailored and unique to the King Gizzard & The Lizard Wizard.
2020 release. If you want to travel America, take the Train. As the Grammy-nominated kingpin of American roots, Victor Wainwright's second release with the crack-squad band he assembled in 2018 is a snapshot of all the nation's great cities and genres - with a modern twist. And, as the title tells you, Memphis Loud's rattle-and-shout originals demand to be played at speaker-shaking volume. "Find a moment," he advises, "to sit back with your favorite headphones or speakers, turn it up, and listen. It's heavy, and I know you're gonna love it."
Hamilton Leithauser has proven himself as a master collaborator and solo artist throughout his nearly 20 year career. Following his time as the frontman of the Walkmen, Leithauser released the critically acclaimed collaboration with Rostam "I Had a Dream That You Were Mine" in 2016. The album debuted at #1 on Billboard's Heatseekers Chart, #1 New Artist Album, and was named one of the Year's Best by Pitchfork, Esquire, NPR, and more. His latest work and second solo record "The Loves of Your Life" is set to be released on April 10, 2020. It was written and produced by Hamilton in his home studio and is a collection of stories about real people he's met over his years living in New York City.
Set My Heart On Fire Immediately is the fifth studio album from Perfume Genius that will be released May 15th on Matador Records. It sees artist and musician Mike Hadreas re-teaming with GRAMMY-nominated producer Blake Mills and features contributions from musicians Jim Keltner, Pino Palladino and Matt Chamberlin. It was recorded in Los Angeles, where Perfume Genius settled in 2017 with longtime partner and musical collaborator Alan Wyffels. 'I wanted to feel more open, more free and spiritually wild,' says Hadreas, 'and I'm in a place now where those feelings are very close-- but it can border on being unhinged. I wrote these songs as a way to be more patient, more considered -- to pull at all these chaotic threads hovering around me and weave them in to something warm, thoughtful and comforting.'
Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016's Teens Of Denial, is set for release on May 1. The album will be available on vinyl and CD featuring distinct tracklists and mixes for each format. Created over the course of four years, Making a Door Less Open is the result of a fruitful 'collaboration' between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo's alternative persona, 'Trait.' To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs.
After a particularly rough solo performance in 2018 when one of her own friends talked loudly throughout her set, Christina Schneider exited the venue and told herself, "If they're not even going to listen, then I'm fucking done." It wasn't quite the feeling she'd hoped for after dedicating her life to creating subversive, genre-fluid pop music. Working under various aliases since 2014 - including CE Schneider Topical, Jepeto Solutions, Christina Schneider's Genius Grant and now Locate S, 1 - she's explored everything from groovy garage rock to minimalist bedroom pop to Syd Barrett-style psychedelia. But when she got home that night Schneider gave herself a little pep talk, and after some self-reflection she came away determined to begin another chapter. "I thought, I don't really need this world to value me, " Schneider says. "The process of writing and playing is what I really love, I'm simply getting lost in this other thing that's ruining it for me." Buoyed by her desire to create the same "crazy, powerful feeling" she gets when she hears an ABBA or Kate Bush song, she reached again for the outer limits of pop music and recorded Personalia, her sophomore album as Locate S, 1. Named after a poem by Mary Ruefle, "Personalia, " the lead single and title track, is a retelling of that emotional night in 2018 when she nearly quit. "Almost killed myself so I went home / I just cannot take these local shows, " she sings over a gloomy, despondent bass line. "Drive through thunderlight all alone just to play while they're looking at their phones / curse another crowd that doesn't get it, " she later sneers. But in-between this melancholy Schneider suddenly finds her spark. "Plug in tonight when I get to my room / pretend I'm someone that I could believe in, " she sings during the songs fizzy, euphoric chorus. "I've shorted out but if I play long enough I'll become the person that I wanna be again, " she cries, echoing some of Blondie's most triumphant moments. The song signals Schneider's desire to center Personalia in the present. Much like the character in Mary Ruefle's poem, Schneider spends much of the album trying to understand and expel a darkness that has come over her (and society at large) in order to live a more fulfilling life. While she was writing and recording the album in her home studio in Athens, GA over the past year, she was thinking a lot about her own growth and self-worth as an artist, and where her constantly evolving and always experimental music fits in the digital age. Environmentalism, money, power, and modern feminism formed part of that conversation, too. Throughout Personalia Schneider seeks to address how the attention economy is plaguing us with feelings of FOMO and anxiety, and is causing many of us to abandon their progressive values. One of the more profound statements about this topic comes via a song called "After The Final Rose, " which is based on Schneider's observations of the final two seasons of the reality TV series The Bachelor and The Bachelorette. "At the end of the season they have this episode called "After The Final Rose, " and the Bachelor or Bachelorette meets up with all the other contestants and they yell at each other, " Schneider explains. "I thought that was a very funny and unintentionally self-reflexive title for the episode, so I borrowed it to criticize corporate feminism and it's lethal effects on romance. On The Bachelorette women feel like they're powerful because they have money and can travel all over the world. It seems like that's replaced any kind of meaningful feminism or romance in the world, currently." Her partner Kevin Barnes, of the rock band of Montreal, co-produced and engineered the album, and shares a writing credit on "Even the Good Boys Are Bad, " which references a conversation she had with Barnes about his daughter beginning to date. Schneider coined the phrase "even the good boys are bad" in reference to his paternal anxiety, they then took it and it turned into the album's biggest hook-"Even the good boys are bad / even the best ones, even the good sons." The song reached it's final form after Schneider listened obsessively to Britney Spears' hit single "Toxic." You can hear this influence in the charging drums, spiraling synths and the song's enigmatic chorus. Schneider also has a sharp sense of humor, and while it's more obvious on stage, if you listen closely you can also hear it on Personalia. Opening track "Sanctimitus Detrimitus" is named after a phrase she misheard while watching the James Stewart movie "Made for Each Other". "I love songs where people completely make up words, like Steve Miller's 'pompatus of love' but I thought it would be even funnier if I just made up some Latin, though 'Sancitmitus Detrimitus' does mean something to me now" Schneider says of the devotional, MIDI-saturated jam. "Futureless Hives of Bel Air" is an apocalyptic, anti-capitalist song about how we are killing our ecosystem, yet something about the idea of the ultra rich leaving behind their empty mansions and fleeing Earth to live in space (the idea came to Schneider in a dream) seems decidedly absurd. At it's core, Personalia is about rebuilding, not rebranding. It's about evolving and moving forward despite knowing the world is falling apart around you. On the peppy, dance hit "Whisper 2000" Schneider fully embraces this idea: "If you cannot behold my miracle, step away from the vehicle, " she sings with a defiant spring in step.
Wildly acclaimed Brooklyn songwriter, Joan as Police Woman, returns with her new album, Cover Two. This is Joan's second album reinterpreting songs by other artists and once again, the choices are unpredictable and intriguing. The track list features Prince's "Kiss," Neil Young's "On The Beach," Outkast's 'Spread" and more.
Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. 4 of the Sub Pop Singles Club in 2019. At the end of 2015, Man Man went on an unexpected hiatus, and thus began a period of creative reinvention for Honus Honus. He worked in music supervision and on scores (The Exorcist, Superdeluxe, Do You Want to See a Dead Body?). He acted in the indie film Woe (“I played a park ranger, a nice guy in a sad movie.”), So It Goes, a short musical film with Mary Elizabeth Winstead, and starred in the award-winning tour documentary Use Your Delusion. He also developed an animated series, wrote film scripts, a graphic novel, a neo-noir TV pilot, and briefly penned a music column for The Talkhouse all while continuing to work on new music, such as an unreleased kids’ record, another Mister Heavenly album, a self-released Honus Honus record, and a conceptual art/noise project Mega Naturals. In the midst of this surreal exile from Man Man, Honus began piecing together what would become Dream Hunting in the Valley of the In-Between. He recruited longtime-collaborator Cyrus Ghahremani to help him produce. Written in a friend’s LA guesthouse that had “an old upright piano, a thrift store lamp, and nothing else,” it was an arduous, three-and-a-half-year process, “I had chord progressions that looked like chicken scratch and lyrics on pieces of paper stuck all over the walls. It looked like I was about to break the big case, catch the killer,” he says, laughing. “There was a lot of self-doubt, fighting the urge to throw in the towel. It wasn’t fun but it definitely forced the best album of my career out of me. Sometimes you just gotta tear it all down to rebuild things the right way. Trust the process.”
Recording under the moniker Hala, 22 year old Ian Ruhala writes songs that feel fresh, bright, but insightful, out of his home in Detroit, MI. It is the kind of music that one would expect to hear at the beginning of a movie or short film. With a prolific output, Hala stresses the importance of the songwriting and production process, as much as the final product. Standard weight black vinyl with poster insert. Pressed on standard weight black vinyl with poster insert.
Third Man Records is proud to announce the first new LP in almost seven years from Brendan Benson. DEAR LIFE arrives via Third Man Records on Friday, April 24.
Benson’s seventh solo album and first full-length release via Third Man, DEAR LIFE is heralded by the rhapsodic first single, “Good To Be Alive.” “’Good To Be Alive’ is kind of weird, to be honest,” Benson says, “But that’s what I’m most excited about. It says a lot about this record, it’s almost got a split personality or something. It’s totally bizarre – I still sit back and listen to it, thinking, that’s so cool! It’s like somebody else played it, it’s not the same old me.”
Benson finds himself in an enviable spot as he enters the third decade of a remarkably creative, consistently idiosyncratic career – an accomplished frontman, musician, songwriter, producer, band member, husband, and dad. DEAR LIFE marks this consummate polymath’s most inventive and upbeat work thus far, an 11-track song cycle about life, love, family, fatherhood, and the pure joy of making music. Produced and almost entirely performed by Benson at his own Readymade Studio in Nashville, the album sees the Michigan-born, Nashville-based artist – and co-founder, with Jack White, of The Raconteurs – reveling in a more modernist approach than ever before, fueled by a heady brew of cannabis, hip-hop, and a newly discovered interest in software drum programming. The result is an untapped playfulness that elevates expertly crafted songs like the future funk-fueled opener, “I Can If You Want Me To,” and the ecstatic “Richest Man Alive” with voluble arrangements, elastic grooves, and incandescent power. Imbued with revitalized ambition and confidence, DEAR LIFE is Brendan Benson at his very best.
“There's something about this record,” Benson says. “A friend of mine called it ‘life-affirming.’ I thought it was a joke at first but then realized, well, it’s about life and death for sure. I don’t know if that’s positive or optimistic or whatever, but that's what's going on with me.”
Eighth studio album from hard rock band from Orem, Utah. First release since critically acclaimed The Canyon (2017). 16 track album features lead tracks “Blow Me” and “Paradise Lost, a poem by John Milton.” Album reunites the band with longtime producer John Feldmann (Good Charlotte, Blink-182, Story of the Year) who’s collaborated on six albums from The Used. Double LP is translucent red with splatter.
Formed in 1991 by Jonas Renkse & Anders Nyström, and transitioning from early pioneers of the rising black/death/doom movement, to powerhouses of the progressive metallic rock genre, the Swedish connoisseurs of melancholy return with their stellar new opus, City Burials - the band’s eleventh studio album, & first since 2016’s haunting The Fall of Hearts was brought before the world.
With the winds of a new direction steering the band on their latest journey, City Burials stands as Katatonia’s new triumph of deep & enigmatic progressive rock – the fruits of a rejuvenating and profound chapter in the band’s legacy; a catalyst for its creators, with a collection of moments constructed out of the fragments of an ever-evolving life. Compiled into one of their most important modern works and statements to date, the finely-honed instrumentation provides a multi-textured backdrop with the voice of Jonas Renkse guiding us through these latest trials of loss and ruin.
Beyond their core creative duo, Katatonia are very much a full-blown band, and the chemistry between Jonas, Anders and their band mates – bassist Niklas Sandin, drummer Daniel Moilanen and most recent recruit, guitarist Roger Öjersson – has never sounded more potent, with City Burials being the first album Katatonia have made since Öjersson became a full-time member.
Inspired by an injection of fresh blood into Katatonia’s creative brew, City Burials is an album that sees the band reclaim part of their heavy metal roots, via several moments of exuberant, old school classicism, deftly woven into these new songs’ kaleidoscopic fabric. Resulting in an album that looks certain to push the band ever further into the spotlight.
City Burials was produced by Nyström/Renkse and recorded at Soundtrade Studios, Tri-Lamb Studios & The City Of Glass, throughout October & November 2019, with engineering work handled by Karl Daniel Lidén with mixing and mastering by Jacob Hansen. The album also features a guest appearance by Anni Bernhard, the voice behind Stockholm based act Full of Keys. Artwork appears courtesy of Lasse Hoile, the image itself representing the ongoing era of the Dead End King.
The band will be supporting the release with festivals and touring planned throughout 2020 and 2021 including an appearance at 2020’s Psycho Festival.
Other Lives mark their return their long-awaited fourth album 'For Their Love' on April 24th, 2020. The record follows 2015’s Rituals and finds frontman Jesse Tabish displaying a more candid narrative both in general and on a more personal level. Originally hailing from Stillwater, Oklahoma, Other Lives emerged in 2011 with their debut 'Tamer Animals', much celebrated both across Europe and the US with an invitation from Radiohead to open their North American tour soon followed.
Ariel Archives is a comprehensive series of reissues and retrospective collections concentrating on the treasure trove of material recorded and released by Ariel Pink as Ariel Pink’s Haunted Graffiti.
Ariel Archives will include definitive reissues of Ariel Pink’s albums released between 1999 and 2004: Underground, The Doldrums, House Arrest, Loverboy, Scared Famous, and Worn Copy. Surplus material from this period to the present day will be highlighted in two new volumes of collected outtakes and non-album tracks, Odditties Sodomies Vol. 2 and Vol. 3, plus a new edition of Odditties Sodomies Vol. 1. Ariel Archives will complete this retrospective project with the first-ever vinyl release of Stranded at Two Harbors (the debut Holy Shit album co-written by Matt Fishbeck and Ariel Pink) and a new collection of Ariel Pink’s singles and tour-only CD-Rs released in the last decade.
Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunset” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic.
Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night.
Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius.
Twenty years on, Ariel’s music still stupefies. The quantity of ideas and moods expressed through a modest recording enterprise seems supernatural, not human. Indeed, Hedi El Kohlti, in his superb new liner notes for Underground, compares Ariel’s explosive creative period between 1998 and 2004 to a character in Phillip K. Dick’s A Scanner Darkly who has all of 20th century modern art beamed into his brain at flash cut speed. Did Ariel Pink, at the age of 20, receive a similar instantaneous “download” of all of the secrets of pop music?
Shabazz Palaces’ Black Up, the group’s Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: “Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision.” That “impossible vision” has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group’s fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights “Fast Learner (ft. Purple Tape Nate),” “Chocolate Souffle,” “Bad Bitch Walking (ft. Stas THEE Boss), and “Thanking The Girls.” It also features contributions from singer/keyboardist Darrius Willrich, Seattle’s OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.
Vinyl LP pressing. 2020 release from the metal band. Verminous is The Black Dahlia Murder's most dynamic, rousing and emotional release to date, and it achieves this without compromising one iota of heaviness. "I think this is the biggest evolutionary leap we've ever taken from one album to the next. We stoked the creative fires with 2017′s Nightbringers and it's gone much further now in Verminous," states vocalist Trevor Strnad. "It's a very colorful, moody, and charismatic album that experiments with new sounds and ideas without losing the cutthroat Black Dahlia edge. There is a lot of minutiae to digest. Plenty of delicious little Easter eggs woven into the fabric of each song. Each one is a living, breathing entity that will stand on it's own as some of the best music this band has ever created."
On her third album U kin B the Sun, Vancouver-based singer/songwriter Frazey Ford inhabits an entire world of shapeshifting rhythm, elevating every beat and groove with the subtle magnetism of her mesmerizing voice. With its graceful collision of soul and psychedelia and sometimes '70s funk, it's a body of work that invites both self-reflection and wildly joyful movement, and ultimately sparks a quiet transcendence. Due out March 27th. Standard LP w/ printed inner sleeve, includes download card.
“The anger and depression got to me, and I couldn’t hold it in anymore. So, I got into a room with my demons and we just hit record,” shares indie singer-songwriter Leslie Mendelson. The resulting album, playfully titled, ‘If You Can't Say Anything Nice…,’ is viscerally themed, imaginatively arranged, cinematically dynamic and textured, oozing raw elegance.
“I deal with depression and anxiety, and I’ve never really sang about it before. It also felt like what was going on with society was also affecting me, in terms of gun violence, the opioid crisis, and the all hatred in the news and media. It felt like it was time to speak out,” Leslie explains.
Leslie has released two prior albums, including her Grammy Award-nominated debut, ‘Swan Feathers,’ one EP, and three singles. Her first album exhibited a production sheen she opted to strip away on her sophomore album, ‘Love & Murder.’ Her latest, ‘If You Can't Say Anything Nice…,’ is a gutsy album that splits the difference between her previous albums in terms of production, but also features some garage-rock bluster. “The best time to make a rock n’ roll record is when you’re broke and pissed off,” she says, with a good-natured laugh. For the album, Leslie worked with longtime co-writer and guitarist Steve McEwan who co-produced the album alongside bassist and engineer Lorenzo Wolff.