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Sucker Supreme is the third album from Rosie Tucker, and first for Epitaph Records. It is a coming of age album that aches with self-discovery, self-definition, and self-redefinition. Sucker Supreme is also just the right follow-up to where their last album, 2019’s Never Not Never Not Never Not, left off: still playfully observed, still sneakily political, still indebted to folk singers of the past – but also much, much bigger, brighter, louder and noisier than anything Tucker has dared before. It delivers mightily on an ambitious M.O.: to be relentlessly catchy and muscular and noisy but also beautiful; be achingly sad and searching, but never too far away from funny, either; and to spotlight Tucker’s empathetic, yearning vocals on top of it all. It takes a unique group of people to make an album that leaps out of the speakers at you like this one. Sucker Supreme is the first record made by Tucker’s current touring band: drummer Jessy Reed, guitarist Jess Kallen, and bassist Wolfy, who also occupied the producer’s chair. It’s a group of people as eager to share their long-dead folk music heroes as they are to pay homage to their still-kicking pop-punk heartthrobs.
Big Mess marks Elfman’s first solo collection in more than thirty years, but it’s no return to form. Clocking in at 18 tracks, the sprawling, ambitious double album finds the Grammy and Emmy Award-winning composer breaking bold new ground as both a writer and a performer, drawing on a dystopian palette of distorted electric guitars, industrial synthesizers and orchestra in an effort to exorcise the demons brought about by four years of creeping fascism and civil rot.
The songs here call to mind everything from Nine Inch Nails, to David Bowie to XTC at times, balancing dense, harmonically complex arrangements with biting, acerbic wit as they reckon with the chaos and confusion of the modern world. Elfman wrote almost all of the record during quarantine, and while the anger, frustration, and isolation of it all is palpable in his delivery, Big Mess is about more than simply blowing off steam. In making the space to truly sit with his emotions and write without limitations, Elfman achieved a kind of artistic liberation on the record that had been eluding him for decades, rediscovering his voice and reinventing himself all at once in the process.
Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and ’90s. Among the group’s early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee’s Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films.
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Formed in L.A.’s South Bay in 1978, DESCENDENTS began as a power trio featuring bassist Tony Lombardo, drummer Bill Stevenson, and guitarist Frank Navetta (d. 2008). The band re- cruited vocalist Milo Aukerman in 1980 and began establishing themselves as major players in the Southern California Punk movement. Over the years, the band has sustained a potent chemistry and shared vision, further cementing them as punk legends.
In 2002, the original four-piece lineup — Frank Navetta, Tony Lombardo, Bill Stevenson, and Milo Aukerman — got back into the studio to finally record their first-ever songs. The songs were written by the band from 1977 through 1980, before recording the Fat EP (1981) and the Milo Goes to College LP (1982). Put simply, this is the DESCENDENTS’ earliest material, represent- ing a “lost” pre-MGTC album. Most of these songs have not been heard—until now.
Every element of DESCENDENTS’ genre-creating sound is here: Stevenson’s hyper-caffeinated surf-beats, Lombardo’s intrep- id bass, Navetta’s crunching attack, Aukerman’s impassioned, infinitely relatable singing—and all those great melodies and harmonies.
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Los Angeles based band, Los Lobos, have always been inspired by their surroundings and the place they call home. Their music is influenced by rock and roll, Tex-Mex, country, zydeco, folk, R&B, blues, brown-eyed soul, and traditional music such as cumbia, boleros and norteños. With Native Sons the band set out to showcase all of these influences with their own take on the songs of Los Angeles from some of the cities greatest songwriters. Native Sons features 13-songs from well known LA artists such as Buffalo Springfield, WAR, Jackson Browne and the Beach Boys as well as deep cuts from the Jaguars, The Basters and The Premiers. The album title track is the sole original composition written by the band.
Billie Eilish has announced her highly anticipated sophomore album. The 16-track studio album, titled Happier Than Ever, will be released via Darkroom/Interscope Records on July 30. Continuing the tradition on from her multi-GRAMMY Award, record-breaking debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother FINNEAS who produced the album in Los Angeles. The album includes Top 40 #1 single “Therefore I Am” and “my future.”
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IIUII is a retrospective, but it’s just as much about the here and now. To re-record those songs with the maturity that Fin and his band members have achieved is about viewing the past through the lessons it has taught, not just remastering and repeating it. This was a chance to listen back through all the records, appreciate them for what they are, separate from the usual demands of which songs work on stage – and then give each song the treatment it deserves.
With a solid fan base worldwide, Fin and his band have played the venues and festivals they want, and if not plain sailing, then certainly they've been in a space where they can operate with confidence, soaring with shoegaze layers one minute, back to purist blues basics the next. Fin has also participated in a sideline in co-writes on records by the likes of John Legend, a few soundtracks and the occasional excursion into dub or techno to keep things interesting.
"Listening to the story of Canadian duo cleopatrick is a bit like hearing the plot of the best, most righteously validating coming-of-age film never made. Two friends meet aged four in Hicksville, Nowheretown (real name: Cobourg, Ontario, population 19,000), grow up completely inseparable, form a band and, against numerous obstacles, blossom into a genuine, global underground sensation. There are heroes and villains, highs and lows and, crucially, some of the most poetic plot twists that could seem almost too perfect, were they not completely true.
Take the story of 2017 breakthrough track ‘hometown’ for example. “It’s one of the craziest, most ironic things that’s ever happened,” begins vocalist and guitarist Luke Gruntz. “I was going to college because I was too scared to put all my chips in the band pile, and that’s what ‘hometown’ is about: it’s a song about feeling like we’re doing all this stuff and we’re working so hard and we’re just never going to be heard. It’s literally a song about people probably never hearing our songs. And then by some act of the universe, that song ended up unlocking all the doors for us.”
Today, cleopatrick has logged 77 million streams and counting - all from an increasingly dedicated fanbase who’ve found the duo, completed by drummer Ian Fraser, their own way: no major label, no big budget, just two best pals knuckling down, cementing a unique sonic alchemy and filling a space of honest, empathetic yet undeniably heavy-hitting rock music that they’d been searching for themselves for years. Between multiple sold out tours in Canada, the US and the UK/EU and appearances at Lollapalooza, Austin City Limits and Reading/Leeds, the pair have been crafting BUMMER: a debut album that sees cleopatrick harness all the magic they’ve been brewing over their two-decade friendship and funnel it into a record that aims to reinvigorate the rock landscape from the ground up. Taking the ethos of their New Rock Mafia collective - a group of friends and fellow bands, united in making a more inclusive, equality-driven space in rock music - and imbuing it with the sonic ambition and ferocity of a record designed to be played hard and loud, it’s an album about two friends, who’ve been with each other since the formative first steps that adorn ‘BUMMER’’s heartwarming cover image and made something that’s a testament to the power of sticking to your guns."
Mammoth WVH is the debut, self-titled album of Mammoth WVH – the band created by Wolfgang Van Halen. This collection includes the chart topping new single, "Distance” plus “Don’t Back Down,” “Epiphany,” “Mammoth” and more.
At the beginning of 2015, Wolf broke ground on what would become Mammoth WVH with producer Michael “Elvis” Baskette [Alter Bridge, Slash] behind the board. Wolf began to embrace his voice, inspired by everyone from his father, to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-title debut album, remarkably Wolfgang plays every instrument.
“The name Mammoth is really special to me.” says Wolf. “Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I’d call my own band Mammoth, because I loved the name so much.”
This is the 10-year Anniversary Edition of Firewater, the sophomore album from Whiskey Myers featuring hit songs "Ballad of a Southern Man", "Broken Window Serenade", and "Virginia". The album was produced by Leroy Powell, and recorded at the famed Panhandle House in Denton, TX. The 10-year anniversary edition is pressed on translucent colored vinyl, housed in an updated jacket with metallic spot print, and is limited to 2000 units worldwide. It is only available at independent record stores, and on the official website of Whiskey Myers.
The Sweet Relief Musicians Fund provides financial assistance to all types of career musicians and music industry workers who are struggling to make ends meet while facing illness, disability, or age-related problems. That life is hard is true, and yet we're graced with gifts that make it easier. One of those gifts is Joey Spampinato. The singer, songwriter and bassist was co-founder of NRBQ, a rock quartet who released their first album in 1969 and whose genre-defying music inspired a generation of music fans and especially other musicians. Many of those musicians answered the call from Kami Lyle, and producer Sheldon Gomberg when they contacted them about recording one of Joey's songs for an album to help raise funds for Joey when it was revealed he was battling cancer. The result is Sweet Relief - A tribute to Joey Spampinato, an inspired album of songs written by Joey and recorded by an astounding group of musicians who are all generously donating their proceeds from these previously unreleased recordings to the Sweet Relief Musicians Fund to support Joey and other struggling musicians. For more information about Sweet Relief Musicians Fund visit https://www. Sweetrelief. org/
A graduate from the prestigious Berklee College of Music, Ashe has been lauded by the likes of The FADER who raved about her “effortless voice”; People called her music, “deeply emotional yet so fun,” Consequence of Sound described her songs as, “accessible yet emotional” and NME declared she’s “a formidable new force in the pop world,” among other accolades. Ashe’s touring resume includes performances at Coachella with Big Gigantic, and opening slots for The Chainsmokers, LAUV, Louis The Child, Lewis Capaldi and more. On TikTok Ashe gained 1 million followers, hitting over 2.5 billion video views and 2.5 million videos created. On Instagram she has over 905K followers and growing, approaching 515K followers on Twitter, and over 7.3 million monthly listeners on Spotify. Her double EP Moral of the Story Chapters 1 & 2 is out now. In 2020, Ashe also released the single “Save Myself,” which garnered over a million streams a week last summer, while the official music video saw #SaveMyselfMV trend on Twitter worldwide after its debut, including the U.S. at #5. She recently contributed an original song, “The Same,” to the new film and soundtrack, To All The Boys I’ve Loved Before, her second placement in the wildly popular Netflix franchise. Ashe made her stunning late-night TV debut alongside Niall Horan on The Late Late Show with James Corden, taped at London’s famed Royal Albert Hall and her daytime debut on Ellen at the top of 2021. “Till Forever Falls Apart” is the first hint of more exciting new music on the horizon from Ashe coming soon. Ashe and FINNEAS recently performed the song on Jimmy Kimmel Live! Ashe’s forthcoming debut album Ashlyn includes 14 songs which she describes "Ashlyn is deeply reflective and honest, full of stories of my experiences with fear and pain and turning those hard things into joy and independence. I’m an experiential writer and there was no way I was going to make an album that didn’t address my personal journey, from my brother’s death this last year to my own experiences with emotional abuse. I think you have to be vulnerable to create something really great and I believe I did that. Writing this album was also an opportunity to show that I’m not just a songwriter and a singer but a producer and a musician with a very clear vision for my art. Joni Mitchell refers to herself like a bee, gathering stories like pollen and trying to make honey from it, “whether or not the flavor suits people is something beyond my control.” I really tried to take that approach to writing this album, making something I loved above everything else. I couldn’t be more proud of Ashlyn and I hope many people happen to love it too.”
While many know Bergman as one half of brother-sister duo Wild Belle, her forthcoming record is a cathartic collection rooted in the hopeful values and traditions of gospel that have helped her through the recent, tragic loss of her father. On the signing of Natalie Bergman, Third Man Records co-founder Ben Swank adds, “Natalie has a unique vision and has approached this album with a reverence for the sacred and healing nature of the history of this music, but has managed to update it in a way that is distinctly her own. We're very excited to welcome her to the Third Man label and family.” Alongside her brother Elliot, the island-influenced music Natalie Bergman made in Wild Belle has led to collaborations ranging from Major Lazer to Tom Tom Club, performances at Coachella and Lollapalooza, tours with Beck, Cage The Elephant, Toro y Moi and more. Helmed by her heavenly voice, Bergman’s solo album is steeped in mystic melodies and time-bending tones of psychedelic rock and soul. Showcasing her multi-instrumental and creative versatility, songs will be accompanied by visuals that blend her own abstract artwork, self-designed wardrobe and beyond. Stay tuned.
Van Morrison will release ‘Latest Record Project: Volume 1’ on May 7th on Exile/BMG. His 42nd record and his most dynamic and contemporary album in years, ‘Latest Record Project: Volume 1’ is a 28-track delve into his ongoing love of blues, R&B, jazz and soul. However much you may love his classic albums, this new project proves that he’s living in the present, and remains an artist of integrity and distinction.
“I’m getting away from the perceived same songs, same albums all the time,” says Morrison. “This guy’s done 500 songs, maybe more, so hello? Why do you keep promoting the same ten? I’m trying to get out of the box.”
‘Latest Record Project: Volume 1’ is the result of our enforced period of isolation. Unable to tour, Morrison remained busy with constant songwriting, starting ideas on piano, guitar or saxophone. What emerged is a wealth of new material, which shimmers with a directness and vibrancy that comes from working with a rhythm section with whom he shares an immediate, spontaneous connection.
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The perfect complement to the film available as a 5-LP 180-gram black vinyl set for the Zappa completist. Showcasing 69 total songs, with 12 previously unreleased recordings from archive along with the 1978 Saturday Night Live performance; 24 additional Zappa songs from the catalog spanning 4 decades; songs from Zappa's labels Straight / Bizarre Records; 2 classical compositions by Edgard Varese and Igor Stravinsky; and 26 Original Score cues newly composed by John Frizzell for the documentary.
Nancy Wilson has recorded 16 albums and sold over 35 million albums worldwide with her band, Heart. Within that history-making career, You and Me represents something special, as it is Nancy Wilson’s very first solo studio album.
You and Me was primarily recorded in Wilson’s California home studio, working with band members and special guests remotely. Most of the tracks are originals, but Wilson decided to include a handful of covers by a few of her favorites, including her moving version of Bruce Springsteen’s “The Rising,” a female perspective of Pearl Jam’s “Daughter,” a stirring turn of Simon & Garfunkel’s “The Boxer” featuring Sammy Hagar, and an ethereal cover of the Cranberries “Dreams,” featuring Liv Warfield from Nancy’s previous band Roadcase Royale. The album also includes Guns N’ Roses’ Duff McKagan, and Foo Fighters’ Taylor Hawkins on a new track, “Party at the Angel Ballroom.”
The title track and first single “You and Me” highlights the intimate feel of the album. Like all the legendary music she’s created with Heart, “You and Me” is an emotional, intimate conversation between a musician and an audience.
Esther Rose was in perpetual motion when she wrote How Many Times. In the span of two years, she moved three times, navigated the end of a relationship, and began touring more than ever. The New Orleans-based singer-songwriter used that momentum while she penned her third studio album. That's why, as the album title's nod to the cyclical nature of life implies, there's a rush that accompanies How Many Times as if you're experiencing an awakening, too.
With the integrity of Dean Johnson, Faustina Masigat, and Kiki Cavazos serving as primary influences, Rose expands her alt-country sound into a blossoming world of folk pop, rustic americana, and tender harmonies. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs. From opening for Nick Lowe on tour to being asked to sing on Jack White's latest album, Rose's journey through the past few years has been one of saying yes to new opportunities, all while nurturing and playing in bands in the New Orleans country music scene. The arrival of How Many Times is evidence of the sweeping growth Rose has undergone, both personally and artistically. She's turning towards her troubles and facing them head-on, ready to feel whatever's necessary in order to keep growing upwards and outwards.
With each new release, Elias Bender Rønnenfelt, Jakob Tvilling Pless, Jojan Surrballe Wieth and Dan Kjær Nielsen refigure the contours of a typical Iceage song. This is especially true of Seek Shelter, their fifth LP and first for Mexican Summer. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce the record and an additional guitarist, Casper Morilla, the album sees Iceage's propulsive momentum pushing them in new, expansive, ecstatic directions, exploring a new emotional palette, replete with romantic piano balladry, invocations of patron saints, and a gospel choir.
On May 14, The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.
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To mark the 50th anniversary of the release of RAM, the album will be pressed from a master cut at half speed using the original master tapes at Abbey Road.
The only album credited to both Paul and Linda McCartney, RAM reached Number 1 in the UK and stayed in the US Top 10 for five months. Recording after he’d left The Beatles and before the formation of Wings, Paul initially flew with Linda to New York to record the songs they’d written but arrived without a band. As Paul recalls, “We were thinking of forming a group at that time, Wings. We went to New York, found a really grotty little basement somewhere and auditioned a bunch of people. We got someone to throw a lot of drummers at us, out of which we picked Denny Seiwell who’s one of the best, and his personality fitted. Then we went in, worked with him, Hugh McCracken, Dave Spinozza, a couple of New York session men, and did RAM.” To avoid arousing too much interest, the auditions were held under the guise of a session for a commercial jingle. As well as Paul’s lead vocals there are harmonies from Linda. “I gave her a hard time, I must say, but we were pleased with the results. Elton John later said somewhere that he thought it was the best harmonies he’d heard in a long while. It was very much the two of us against the world at that point.”
Daddy’s Home, the sixth album from St. Vincent, is the latest facet of an ever-evolving artist regarded by many as the most consistently innovative and intriguing presence in modern music. The album was pro-duced by Annie Clark and Jack Antonoff, recorded by Laura Sisk, mixed by Cian Riordan, and mastered by Chris Gehringer. The music was performed by Annie, Jack, Cian, Thomas, Evan Smith, Sam KS, Greg Leisz, Daniel Hart, Michael Leonhard, Lynne Fiddmont and Kenya Hathaway.
"Daddy's Home collects stories of being down and out in downtown NYC. Last night's heels on the morning train. Glamour that's been up for three days straight.”—St. Vincent
The forthcoming album from The Steel Woods, All of Your Stones, took on a new dimension back in January when the band’s founding guitarist and principal creative force, Jason “Rowdy” Cope, passed away peacefully in his sleep at age 42.
The new album is the third offering from one of the fastest rising bands in the worlds of independent country and Southern rock. Since releasing their debut Straw In The Wind album in 2017, The Steel Woods have staked their claim as worthy successors of Southern rock icons Lynyrd Skynyrd, with a dynamic live show and a songwriting verve that draws inspiration from country icons like Willie Nelson and Waylon Jennings.
When The Steel Woods entered the studio to record All Of Your Stones, smack in the middle of a global pandemic, it’s clear they had something to prove, if only to themselves. Cope had wrestled with undiagnosed PTSD and its multitude of symptoms after the release of sophomore album Old News. Wes Bayliss, the band’s singer and co-songwriter, wasn’t always sure what the future held for the group, which is rounded out by Johnny Stanton (bass) and Isaac Senty (drums).
Reflecting on Rowdy’s vision and passion for the band, Stanley says the last thing Jason would have wanted was for the music to stop. Bayliss concurs. “We were always going to do the things you do when you put out a record. Now, there is simply a little more reason.” Indeed there is more reason.
With the release of All Of Your Stones, The Steel Woods now have the responsibility to keep the fire burning. After all, it’s what Rowdy would want.
Broken Mirror: A Selfie Reflection is a timely callout to the power of collaboration, of kindred spirits connecting in crowded rooms. More important, though, is this collision of two profoundly Southern artists, meeting to shed expectations of generation and genre, scene and situation and exchange truth, wisdom, and energy. The real world is more complicated than a pretty digital picture, bowdlerized of blemishes. As Broken Mirror: A Selfie Reflection reminds us, it can be more revelatory and transformative, too.These racks are balls of energized contemplation, Holley crooning grievances and observations above surrealist grooves so irrepressible and heavy that the words strike with the force of gospel. Holley strolls into "I Cried Space Dust" as if he's wandered into the On the Corner sessions and offered unsolicited insights on true transcendence. "I'm Not Tripping" is an anthem of self-worth and self-enjoyment for a society mired in self-doubt, the words breaking like light beams through clouds of atomized drums and synths. And Holley begins the title track as a character mindlessly staring into a cell phone, captivated by his own image like Narcissus at water's edge. Holley ponders the egotism of projection over dizzying keyboards and guitars so jagged they conjure fractured glass. By song's end, he's mocking this infrastructure of pandering for likes, jeering us all above a savage bassline that dares you to differ.Holley and White may seem like unlikely collaborators, divided as they are by decades and disciplines. Holley, 70, first earned attention as a sculptor far removed from the fiefdom of fine art, using society's detritus to create curious bricolages that ferried deep narratives of ancestral pride, enduring pain, and eternal hope. His music-privately stowed on stacks of cassettes before he released his staggering 2012 debut, Just Before Music, at the age of 62-aired those ideas over extemporaneous pieces for prismatic keyboards. But on Big Inner and Fresh Blood, White, now 38, came into acclaim as one of his generation's most meticulous songwriters and arrangers. Stretching his assuredly soulful voice like a smile across little symphonies of strings, horns, choirs, and percussive cavalcades, White commanded sounds where Holley seemed to glide inside them.
'It's about hopelessness and darkness,' says Aidan Moffat. 'But in a fun way.' The Arab Strap frontman is speaking about the band's 7th studio album and their first since 2005's The Last Romance . The band who bought you the classic and legendary "The First Big Weekend" return with new music for the first time in 15 years. 'It's definitely Arab Strap, but an older and wiser one, and quite probably a better one.' The first track lifted from the new album 'The Turning of Our Bones' saw a much welcome return to form and proved very much that Arab Strap are back from the grave and ready to rave! As the bands Malcolm Middleton told the Guardian newspaper when they profiled the band upon news of their return, 'There's no point getting back together to release mediocrity.'
Steve Miller has dug deep into his archives and found an unreleased, full-length concert recording. The album captures Miller's legendary 1977 lineup at the beginning of the band's turn from playing ballrooms and theatres to arenas and football stadiums. Recorded at the Capital Centre in Landover, MD on multi-track tape and newly mixed and mastered by Miller and Kent Hertz. Includes original liner notes by music journalist David Fricke and is pressed on 2 Black Vinyl 180G LP's.
Throughout their first chapter, Del Amitri mastered the art of timeless, melodically focused pop-rock. Their hits - including ‘Nothing Ever Happens’, ‘Always The Last To Know’ and ‘Roll To Me’ - became international radio staples, propelling a career that accomplished five UK Top 10 albums and 6 million sales. Now Del Amitri are set to return with the release of their seventh studio album and first since 2002, ‘Fatal Mistakes’, on April 30th via Cooking Vinyl.
Riley Downing (The Deslondes) sat down one day and decided he wanted to record a song or two for a simple 45. The Deslondes had been on a hiatus for a while and Downing had the creative itch to put something down on record. He had been in contact with his bandmate, John James Tourville and they decided to work on a split 7” with a friend.
The recording session felt like a breath of fresh air and the communion of talented musicians produced more songs than expected. Downing left the session energized and continued to record and trade demo’s with Tourville. Downing and Tourville decided that there were enough ideas to make an album. There were not going to be any rules and nothing would be discarded. All notes and lyrics would be considered.
Start It Over is the result of that creative effort. An album where each song was crafted with a different idea in mind. Some of the songs are more nostalgic than others and some were just written for good ol fashion fun. There is a romantic quality in each song. One song might help someone get through a hard time while one song might contribute to a good time. One song might bring up memories of a better time or just get you far enough down the road to start over.
Sons of Kemet returns in 2021 with their new album Black To The Future, the follow up to 2018’s Mercury Prize nominated breakout release Your Queen Is A Reptile. This release finds the UK-based quartet at their most dynamic – showcasing harmonically elegant arrangements and compositions, coupled with fierce, driving material that will be familiar to initiated fans. This is their 4th record, and 2nd on impulse! This album features prominent UK vocalists and a strong emphasis on lush compositions and arrangements. Guest artists include Kojey Radical, Moor Mother, Angel Bat Dawid, Joshua Idehen, D Double E and is part of the impulse! records “impulse 60!” 2021 campaign
Eminem is back with "Music To Be Murdered By - Side B" Deluxe Edition. Features 16 new tracks (13 tracks + 3 skits). Executive produced by Eminem and Dr. Dre, the deluxe album features Skylar Grey, DJ Premier, Ty Dolla $ign, Dr. Dre, Sly Pyper, MAJ and White Gold. Opaque Grey 4LP available August 13th.
LP Deluxe gatefold tip on Jacket, comes with set of 5 prints. [w/ download card]
m b v is the highly anticipated and long awaited 2013 album from the British Alt-Rock icons led by the esteemed Kevin Shields. MBV is the follow-up to their genre-defining 1991 album Loveless.
On “bb u ok?”, San explores the intersection of festival anthems and lo-fi bedroom ballads by mixing more analog instruments and equipment into his genre-bending sound. He fleshes out his band with collaborations, from “album1” returnees Bipolar Sunshine and The Nicholas, to long-time heroes of San’s including Illinois indie rockers American Football and Rivers Cuomo.
San Holo’s first album, album1, debuted on the Billboard Dance/Electronic Album chart at No. 7 and topped the iTunes Electronic Charts in the US, Canada and other countries. Following the release of the album, San embarked on a year-long world tour that hit 75 dates across Asia, New Zealand, Australia, Europe and North America, selling 100,000 tickets in NA alone. Even more than the ticket sales, streams and awards, album1 proved the strength of San’s international fanbase. The artist deepend that relationship throughout 2020 with his Stay Vibrant movement, a concept that asks for honesty with oneself and others.
In the midst of a global pandemic, John Hiatt walked into Historic RCA Studio B and opened up a lifetime full of leftover feelings. A half-century ago, Hiatt lived in a ratty, $15-a-week room on Nashville’s 16th Avenue, less than a mile away from the RCA and Columbia studios that were the heartbeat of what had come to be known as “Music Row.” In the ensuing 50 years, he went from a scuffling young buck to a celebrated grand master of song.
With Leftover Feelings, Hiatt teamed up with multi-grammy winning artist and producer, Jerry Douglas and his band, The Jerry Douglas Band. There’s no drummer, yet these grooves are deep and true. And while the up-tempo songs are, as ever, filled with delightful internal rhyme and sly aggression, the Jerry Douglas Band’s empathetic musicianship nudges Hiatt to performances that are startlingly vulnerable.
In life, leftover feelings can remain unresolved, no matter how often explored. Explicated in a place of history, a place of comfort. A sacred place, if you believe the documentation of human expression to be a holy thing. Here then, with this album, there is a meeting of bruised and triumphant American giants. Here are Hiatt and Douglas, creating the meant-to-be: Love songs and road songs, sly songs and hurt songs. Their songs, and now our songs. Leftover feelings that edify and sustain.
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Lord Huron presents their fourth studio album, Long Lost. The band has often tried to uncover the past of their studio, Whispering Pines, without much success. Instead, they decided to imagine what has gone on in the studio, who has passed through, and that is how Long Lost was created. Featuring the singles “Not Dead Yet,” “Mine Forever,” “I Lied” and “Love Me Like You Used To.”
LP Packaging: Opaque Custard/Blue mixed color vinyl; gatefold jacket