Music Releases 10-05-18
Twenty One Pilots shook the world with the release of their 2015 LP BLURRYFACE, an album that would go on to sell over 7 million copies worldwide and earn the band their first ever GRAMMY® Award as they shattered longstanding chart records, and captivated audiences worldwide on sold-out arena runs and at international festivals. Now three years later, the duo of Tyler Joseph and Josh Dun have returned to write the next chapter of their story with TRENCH, the band's highly anticipated new studio album. TRENCH finds Twenty One Pilots fearlessly reimagining the possibilities of their music through the same candid expression and genuine identity that helped to cement their place as one of the largest bands in the world.
A truly unique expanded edition of one of the most iconic albums of all time. This new edition takes us on incredibly personal journey through the entire songwriting and recording process – from the very first writing and demo sessions at John’s home studio at Tittenhurst Park through to the final co-production with Phil Spector – providing a remarkable testament of the lives of John Lennon and Yoko Ono in their own words. 2LP version features brand new stereo mix, outtakes, poster, 2 postcards.
Jim James returns with Uniform Clarity, the My Morning Jacket front man’s second solo album of 2018, produced by Grammy-award winning producer Shawn Everett (Alabama Shakes, The War On Drugs). Uniform Clarity explores the acoustic side of the songs on June’s Uniform Distortion with an intimateness rarely felt in recorded music. Check out Uniform Distorion on CD / LP / Indie Exclusive LP.
Coheed and Cambria have distinguished themselves as among the most gifted storytellers in rock. While the most conceptually abstruse Coheed records have always had a foundation in reality,The Color Before the Sunmarks the first time Sanchez is exposing his raw feelings, narrated from his own perspective. His own story is told through big, bright, driving, colorful songs that beam like power-pop, crunch like vintage '90s emocore and float with the expansive feel of space-rock.
Stardust Birthday Party is about human evolution. Specifically, one humans evolution: mine, Ron Gallo. That’s the name my parents gave me. Hi.
At one point, I was a very lost mid-twenties person living in Philadelphia, in a relationship with someone struggling with mental health issues and crippling heroin addiction. I was asleep. I didn’t know how to handle my life. I was also writing songs for HEAVY META - my “frustrated with humanity” album. I laugh about it all now, but at the time it all felt like an absolute nightmare. It was the perfect doorway to look inside the place I’d been avoiding forever: myself.
Stardust Birthday Party is about what is happening underneath all of this life stuff. My path inward. The details of my path are pointless because everyone’s path is different. It is about me sitting with myself for the first time and confronting the big question “WHAT AM I, REALLY?” It’s about the love and compassion for all things that enters when you find out you are nothing and everything. I think at one point I wanted to change the world, but now I know I can only change myself, or rather just strip away everything that is not me to reveal the only thing that’s ever been there. And that’s what this album is about, it’s me dancing while destroying the person I thought I was, and hopefully forever.
In the liner notes of John Coltrane’s album A Love Supreme (which we pay tribute to on this album) he wrote: “During the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music.”
That’s it. That is the pure essence of creativity. Someone embodying what they have realized about themselves and the world that surrounds them. That is why this album exists.
Thank you for letting me share this with you. Ron Gallo
Vinyl: $35.98 PRE ORDER
A Star Is Born (Original Motion Picture Soundtrack) comes this October alongside the Bradley Cooper and Lady Gaga remake of the 1973 original ‘A Star Is Born’ film. The soundtrack includes 34 tracks of music, ranging from Americana/Acoustic to Pop, and scene dialogue from the movie. Rather than covers from the previous films, the album will feature original songs from Lady Gaga, Bradley Cooper and duets by both. The new music highlights Lady Gaga’s artistry, giving a fresh take on this classic.
Since scoring a worldwide smash with her debut album ‘Eye To The Telescope’ in 2004, which went on to sell over 5 million copies, KT Tunstall has remained at the forefront of UK singer-songwriter talent. Over the next decade, three further critically acclaimed albums followed; ‘Drastic Fantastic’, ‘Tiger Suit’ and ‘Invisible Empire//Crescent Moon’ in 2007, 2010 and 2013 respectively, keeping the platinum sales rolling and cementing the Scottish singer-songwriter’s reputation as a major recording talent, as well as a mesmerising live artist. Tunstall has toured the world many times over. She landed a Grammy nomination for Best Female Pop Vocal Performance and lent her tunes to a host of movies and TV shows ('Suddenly I See', used in the iconic opening scene of Meryl Streep flick 'The Devil Wears Prada'). 2012 and the years that followed saw a seismic shift in outlook - the loss of her father, a divorce, and a relocation to Venice Beach, California. After a period of healing, soul-searching, and a change of scenery, 2016 hailed the arrival of the first of a trilogy of albums, the critically acclaimed UK top 10 album - 'KIN'. The trilogy evokes, separately and in sequence, spirit, body and mind. With 'KIN' being her phoenix-from-the-ashes 'spirit' album, 2018 will mark the second offering of that trilogy - her 6th studio album, her ‘body’ album - full details of which are to be revealed later this summer. The last few years have seen something of a creative rebirth for Tunstall. Upon relocating to the west coast of the USA, she was accepted as one of six annual fellows for the Sundance Film Institute’s Composers Lab (hosted by George Lucas’s Skywalker Ranch in Northern California) and has since scored music for short and feature films. As well as putting the finishing touches to her forthcoming album, 2018 has already seen KT being awarded the Inspirational Artist gong at Music Week's Women In Music Awards as well as having been invited to take on the role as the first ever female Grand Marshal (following the likes of Sir Sean Connery) to lead April’s annual New York Tartan Week Parade along Sixth Avenue. She will spend the summer touring with The Pretenders, Simple Minds, and Barenaked Ladies on the lead up to the much- anticipated release of her 6th studio album this Autumn.
Double LP on black vinyl in wide spine jacket. Includes 22.75” x 33” 2-sided folded newsprint poster. Includes coupon for full download
“Never sink and never hide / They tried to break our dream, but child: / Joy Stops Time”. I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.”
And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore.
“None of Your Business Man” opens the album in familiar enough territory, a sax-assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centerpiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik.
At the center of it all is Damian Abraham’s scream—a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization—and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location.
As with David Comes to Life, there is a story here. David—who once came to life—is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations.
Meanwhile, Lloyd—Joyce’s lover—was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited?
Dose Your Dreams—meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close.
Legendary singer-songwriter and Rock & Roll Hall of Fame inductee Steve Perry makes his long-awaited return with Traces, his first new album in nearly a quarter century.
The famed singer introduces Traces with lead track “No Erasin’” and reassuringly greets fans with the opening line “I know it’s been a long time comin’.” The track is an emotional homecoming, a familiar welcome from the iconic voice and writer of Journey's timeless, global hits including “Don’t Stop Believin’,” “Faithfully,” and “Open Arms,” as well as the significant solo success of “Oh Sherrie” and “Foolish Heart.”
Perry says, “Putting 30 years into 10 songs has certainly been an emotional experience for me. I started writing and recording these songs with the creative freedom that I was the only one who would ever hear them. Along the way, I rediscovered my love for music. Each track represents traces of my past, but is also a hopeful look into the future. I invite you to listen with an open heart.”
Produced by Perry alongside co-producer Thom Flowers, Traces is the artist’s most vulnerable and honest recording to date, balancing tremendous loss with enduring hope and beauty. The album is a collection of nine original tracks that encompass the spectrum of human emotion, and also features a beautifully reimagined cover of The Beatles’ “I Need You” It is the work of an artist who has reconnected with his music in a new way.
“Desperate Man” Church’s first single off the new album is currently in the Country Radio charts at #15. Co-written by Church with Texas musician Ray Wylie Hubbard as well as collaborating with producer Jay Joyce. The CMA Award winning singer won the Album of the Year in 2016 for Mr. Misunderstood and has reached Platinum status. It included the hit singles- Mr. Misunderstood, Record Year, Kill A Word, and Round Here Buzz. Desperate Man will contain 11 Tracks.
“Excitement for new music from my favorite artists is a feeling I can remember from my formative years. The unknown and the possibilities of the anticipation are one of the true joys of music,” shares the North Carolina native. “Well, even though how we discover songs from our favorite performers may have evolved, the feeling remains the same.”
Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine – a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC – and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver – who contributed guitar parts and orchestration suggestions – and, slowly, an album took shape; soon after, First Flower became real.
A walk-through Burch’s most intimate thoughts – broken friendships, sibling relationships, and overwhelming anxiety – First Flower is a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever. Opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. Title track “First Flower” is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album’s true stand-out is “To The Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. “I don’t need to scream to get my point across/I don’t need to yell to know that I’m the boss,” she coos over a sparse guitar riff.
First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power.
A highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din. A ten-track album, her tenth studio set. Enveloping the juxtaposition of the concept of dark sunshine , a brooding solo record creating with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty. Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet. Messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock s true innovators. Sometimes the most subversive thing I can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we ve heard before, twisted into different shapes, and sometimes a story is lived a thousand times before we can ride it like a roller coaster. Nothing wholly unfamiliar is gonna make you look twice. When you can describe a record as being deceptively anything, you re hinting at the sociopathic nature of music. Something I love. Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can t, really. Darkness we ve seen. Kristin Hersh, July 2018
For years, Phosphorescent’s rise was a steady one: tours got a little better, rooms got a little bigger, and with it the music became more intricate, more ambitious in its recording and arrangement. Then came Muchacho, a juggernaut that to date has sold over 100,000 worldwide, with lead single “Song for Zula” now well over 50 million streams. Now, ve years later, Phosphorescent returns with his seventh studio LP, C’est La Vie. Recorded in Nashville at Matthew Houck’s own Spirit Sounds Studio, C’est La Vie reveals a crystallization of what made Muchacho such a breakout — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative.
A lot of life was lived between these records: Houck became a father (twice), built his studio, escaped New York. And C’est La Vie does have a hefty, career-spanning feel. But there’s a newfound wisdom, too, a deeper well for all that livin’. The magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. It’s not experimental, exactly, but it’s singular and it’s definitely not traditional. That knack, the through-line across the Phosphorescent catalog, is front and center here.
There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power, Marshall has released music for nearly 25 years now and her prowess as a songwriter, a producer, and most notably—as a voice—has only grown more influential with time. Wanderer, Cat Power’s stunning 10th studio album, marks a pivotal moment in both Chan Marshall’s life and her career. In the six years since the release of 2012’s Sun, Marshall has travelled the world, given birth to a child, and parted ways with her previous record label. Even though it was, in many ways, a period of profound upheaval and radical change, those experiences resulted in a record that is arguably the most assured artistic statement of her career. Produced by Marshall and mixed by Rob Schnapf (Elliott Smith, Beck), the album includes appearances by longtime friends and compatriots, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is, in many ways, a quintessential Cat Power record, with Marshall’s clarion voice front and center in a set of songs that remarkably stark and straightforward. But, if old Cat Power records might easily have been viewed as repositories for pain, Wanderer is, at its heart, a testament to the transformative nature of songs, an album-length imagining of alternate paths, redemptions, connections, and open-ended possibility.
The Paper Kites Double Deluxe Edition is two LPs: the newly released "On The Corner Where You Live" as well as the April-released "On The Train Ride Home". "On The Corner Where You Live" which was produced by Peter Katis (The National, Interpol, Middle Kids) builds upon the romantic, dusky mood the band perfected on twelvefour (No. 1 debut on the ARIA chart) and includes standout tracks "When It Hurts You" and "Deep Burn Blue". "On The Train Ride Home" is a mostly acoustic, achingly beautiful collection of songs. (Gatefold, gold/silver vinyl, includes poster.)
Bunnymen Classics Transformed & New Songs With Strings & Things Attached ‘I’m not doing this for anyone else. I’m doing it as it’s important to me to make the songs better. I have to do it.’ Ian McCulloch This new studio album will see The Bunnymen, still lead by the indominable Ian McCulloch and Will Sergeant, revisit some of their greatest songs to rearrange and transform them with co producer Andy Wright…and strings and things. Expect a couple of brand new tracks to accompany the classics. Echo & the Bunnymen's dark, swirling fusion of post-punk and The Doors/The Velvets-inspired pop psychedelia has brought the group twenty top 20 hits and nine top 20 albums in the UK so far in their 40 year career. The band have come a long way from the group's infamous first concert as a three-piece with a drum machine in 1979 at the legendary Erics club in Liverpool, The Bunnymen still perform sell-out concerts across the world today. Their seminal albums 'Crocodiles', 'Heaven Up Here', 'Porcupine' and 'Ocean Rain' have been a major influence for acts such as Coldplay, The Killers and The Flaming Lips whilst later albums 'Evergreen' and 'What Are You Going To Do With Your Life?' and 'Siberia & Meteorites' demonstrate what an amazing body of work the band have. The Bunnymen are still revered by those in the best of popular culture. In the past year alone, the highly acclaimed and culturally phenomenal Netflix series 'Stranger Things' has used the song 'Nocturnal Me' whilst the equally comparable '13 Reasons Why' has used 'The Killing Moon', a song also used on another Netflix show, 'Dead of Summer'.
“I had a dream about Lemmy,” says Matt Pike, explaining the inspiration behind the title of High on Fire’s triumphant eighth album Electric Messiah. If there’s one aspect of High on Fire that warrants comparison to Lemmy’s mighty Motörhead, it’s longevity. 2018 sees the band celebrating 20 years of the most thunderous heavy metal, with brothers-in-arms Pike, bassist Jeff Matz, and drummer Des Kensel having been firmly intact for the last dozen years. Along the way the band has forged a distinct identity of towering riffs, a propulsive rhythm section, shredding solos, and lyrics of Hessian poetry that has drawn accolades from not only the metal community (notably Decibel, Revolver, Metal Hammer, Terrorizer, Kerrang! magazines) but from mainstream music scribes as well. Rolling Stone, Pitchfork, the Chicago Sun-Times, and The Village Voice are among the dozens of publications outside the metal scene to extol the greatness of High on Fire to curious readers.
Reverend Peyton's Big Damn Band has built its reputation the long, slow, hard way. After 12 years of playing as many as 300 shows each year, Rev. Peyton, the world's foremost country blues finger-style picker, along with the biggest little band in the country has pieced together one of the most dedicated followings out there. This following is sure to eat up the band's latest offering, Poor Until Payday, a country blues record that was made the right way -- two feet on the ground and both hands getting dirty.
As Live Dead so eloquently attests, the Grateful Dead just might have been the best live band in the world during the year of 1969, so any release of material from that period is a (Dead) head turner. This release captures two complete concerts held at the Seminole Indian reservation in Florida on May 23 and 24, 1969, three months after Live Dead and a month after the Midwest shows immortalized on Dick’s Picks Vol. 26. With both Bear (who recorded this show in his usual meticulous fashion) and Timothy Leary in attendance, it’s safe to say that there was something in the air at both shows; Jerry Garcia’s riffage is about as raw as it ever got, and the trademark period sequence of “Dark Star”/”St. Stephen”/”The Eleven”/”Turn on Your Lovelight” is particularly charged, with a nearly half-hour “Lovelight” shining very brightly indeed. Show two starts with another half-hour but very different “Lovelight,” as Pigpen slowly turns up the heat, followed by the rare “He Was a Friend of Mine,” “Alligator,” and another “St. Stephen” (flying out of “Drums” for the only time during its 1968-1971 incarnation) among other treats. Great graphics, too, with notes by Blair Jackson and a reminiscence by Tom Constanten. Never before available at retail!
Eternal Return, the fourth full length from Richmond, Virginia’s heavy psychedelic quartet WINDHAND represents a new era for the group, a chrysalis moment that takes them to new and unforeseen heights. Across nine songs and 63 minutes, Eternal Return is an infectious display of songcraft cloaked in alluring atmosphere, molten fuzz, eerie psychedelia and ethereal vocals. The album was once again produced by Jack Endino (Nirvana, Soundgarden) with vivid artwork by Arik Roper (Sleep, High on Fire). Equally informed by heavy, fuzzed-out psych along with the iconic grunge / alternative groups of the 90s, WINDHAND have crafted a record brilliant in scope, powerful in execution, and perfect for an era of increasingly blurry yet still heavy borders.
For the first time since Happy Hollow, the new Cursive album reunites Tim Kasher, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase, as well as co-producer Mike Mogis (Bright Eyes, M. Ward, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys and touring mainstay Megan Siebe on cello. Press pickup from album announcement included Pitchfork, Brooklyn Vegan, NPR, SPIN, COS and more. US tour dates 10/18-11/18.
At a time when both politics and the planet seem to be spinning out of control, Colin Devlin’s new album High Point takes the sonic high ground. The world has shifted since this Irish singer and songwriter released his acclaimed solo debut Democracy of One in 2010, but his approach to finely crafted music remains steadfast, with warm arrangements and timely lyrics about exploring the darkness and light of human relationships.
Devlin first earned his reputation for atmospheric songs and nuanced vocals during the 1990s and early 2000s, when his band The Devlins received four stars from Rolling Stone and placed songs in more than a dozen films and TV shows. After the success of his first solo album, Devlin won “Best Irish Male” at the Meteor Music Awards in 2010 and co-wrote several tracks on Janiva Magness’s 2016 album Love Wins Again, which earned him a Grammy nomination.
Now, Colin Devlin continues his signature sound on 2018’s High Point. His second solo effort was produced by longtime collaborator Pierre Marchand (Sarah McLachlan, Rufus Wainwright) and recalls the work of classic moodmasters such as David Bowie, Brian Eno, Peter Gabriel, and David Sylvian. Recorded in Los Angeles and Montreal in 2017, the album’s lineup includes Marchand and Devlin on piano, guitar and keyboards; guest guitarist Michael Brook; brother Peter Devlin on bass; Matt Chamberlain (Tori Amos, Garbage) on drums; and Jeremy Ruzumna (Fitz and the Tantrums) on piano and keys. Blue Elan artist Chelsea Williams adds vocal harmonies to several songs.
One of the most desired soundtracks in the beloved collection of music from the iconic Peanuts animated TV specials, It's The Great Pumpkin, Charlie Brown, is being made available for the first time ever on Friday, October 5 via Craft Recordings. Featuring music by GRAMMY-winning composer/performer Vince Guaraldi, the CD and digital package offerings include a new introduction from the TV show's executive producer Lee Mendelson and insightful liner notes by Derrick Bang, Peanuts historian and author of Vince Guaraldi at the Piano.
Eric Hutchinson is an international platinum-selling singer, songwriter and seasoned touring artist. He has shared the stage with acts such as Jason Mraz, Amos Lee, Ingrid Michaelson, O.A.R., and Michael Franti. His single Rock & Roll earned him his first gold record in the United States and the song became a #1 hit in several countries. Modern Happiness, Eric Hutchinson s fifth studio album, is his finest effort yet. The album s 10 tracks display a dramatic departure from a master songwriter s usual musical forms and lyrical themes, while also expanding on his refined working palette through the many disparate genres that has made his music some of the most engaging of his generation. And while Hutchinson s soul, pop and rock composing has matured exponentially with each previous release, there is a penetratingly earthy and at times unflinchingly raw confessional aspect to each song s subject matter, which translates with striking clarity to his vocals.
While Madeline Kenney’s 2017 debut LP, Night Night at the First Landing, was at its heart a guitar-centric rock album, Perfect Shapes, which was recorded and produced by a new collaborator, Wye Oak’s Jenn Wasner, leaps headfirst into fresh and adventurous territory. Largely eschewing conventional rock structures, its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney’s penchant for elegant and abstract composition.
One listen and you’re hooked, sucked into their rapturous world of angular guitars and hypnotizing grooves. With a sound this meticulous and infectious, it’s hard to believe that the band hasn’t even released their debut LP yet, but these singles are only the tip of the iceberg from a group that’s doggedly determined to fulfill every bit of their seemingly limitless potential. It’s already been a wild ride, but Castlecomer is just getting started.
Translucent Red. Matt Nathanson 's 11th studio album, Sings His Sad Heart, will be released on October 5th, 2018 on Acrobat Records/Crush Music via AWAL. The album, produced by Butch Walker, Stacey Jones, Amir Salem, and Adam Pallin, with new singles "Way Way Back" and "Used To Be" and "Mine." Based in San Francisco, Matt Nathanson has evolved into one of the most applauded songwriters and engaging performers on the music scene today. His 2007 album, Some Mad Hope, yielded his breakthrough multi-platinum hit "Come on Get Higher." His 2013 release, Last of The Great Pretenders, debuted at #16 on the Billboard Top 200 while hitting #1 on iTunes' Alternative Albums chart. Nathanson has been featured as a VH1 "You Oughta Know" artist, and has performed on The Howard Stern Show, Ellen, CONAN, Jimmy Kimmel Live!, Dancing with the Stars, Rachael Ray, and The CMA Awards.
Will Hoge didn't really need to release a new album in 2018. His most recent, Anchors, came out last August, reaching No. 6 on Billboard Heatseekers and the Top 20 on the Indie Chart. He'd toured the United States and Europe, and could've settled in from there. But there was something he couldn't stop thinking about: his children. Border police. Political corruption. Anti-intellectualism. Poverty. Gun control. A broken education system. Indifference to others' suffering. Each of these things weighed on Hoge, and he confronts them all head-on in My American Dream
Carolina Confessions features 10 brand-new songs, all written by Marcus except for 'How Long,' which was co-written with the Black Keys' Dan Auerbach and veteran songwriter Pat McLaughlin. Whether it's the searing rock exorcism of 'Confessions' or the propulsive road-bound soul of 'Where I'm Headed,' Marcus exhibits an almost Southern gothic sensibility in his songs, owning up to failed relationships, portraying his complex connection with his hometown, arraying a sprawling musical firmament in the process.
Marcus and his five bandmates - drummer Jack Ryan, bass player Stephen Campbell, trumpeter/trombonist Justin Johnson, sax player Dean Mitchell and keyboard player DeShawn 'D'Vibes' Alexander - are in top form on Carolina Confessions, exhibiting an intuitive sense of control and expression as they tackle their most sonically layered and emotionally complex compositions to date.
Black vinyl. 180g.
Adrianne Lenker has been writing songs since she was 10 years old. Her "back story" has been well documented in various interviews and profiles for Big Thief over the last 3 years. Despite, or more likely because of the constant touring and studio work, the last few years have been some of the most prolific for Lenker as a writer. Songs pop out at soundcheck. They pop out on late night drives between cities. They pop out in green rooms, hotel stairwells,gardens, and kitchens around the world. In the hands of Lenker songwriting is not an old dead craft. It is alive. It is vital. With little regard for standard album cycle practice or the idea of resting at all, Lenker set out to make a document. Songs can be slippery and following a 2+ years on the road with Big Thief, Lenker felt a growing need to document this particular time in her life in an intimate, immediate way. The result is her new album, abysskiss. "I want to archive the songs in their original forms every few years," explains Lenker. "My first solo record I made was Hours Were the Birds. I had just turned 21 and moved to New York City where I was sleeping in a warehouse, working in a restaurant and photographing pigeons. Now five years later, another skin is being shed." Following a two week road trip through the southwestern United States, Lenker headed into the studio with longtime friend Luke Temple. Temple put on his loosely fitting, bright orange, 100% wool producer hat and for one week they made music. The songs chosen for this collection were the songs that felt the most alive in the room. These are not castaways or B-sides. Some of these songs have been alive for years while some were written just days before the session. Some will appear in different future forms, some will not. The thread that connects these songs is notsomething that can easily be put down in words. Intuition connects these songs. They are a record of a time. With this collection, Lenker further illuminates to the listening public what those close to her already know; here we have a songwriter of the highest order, following her voice and the greater Voices that pass through her with an unflinching openness and clarity of translation.
Gregory Alan Isakov’s established record label debut, Evening Machines, out via Dualtone on October 5, 2018, is poised to take his career to places yet unknown to him. Recorded at a converted barn studio located on Isakov’s three-acre farm in Boulder County, CO, the twelve-track album was self-produced and mixed by Tucker Martine (Neko Case, The Decemberists) and Andrew Berlin (Descendants, Rise Against). Since his debut in 2003, Isakov has self-released three full-length studio albums on his independent label, Suitcase Town Music, with over 370,000 in sales, and has toured extensively building a devoted worldwide audience. He has toured with artists including Iron & Wine, Ani DiFranco, Blind Pilot, Passenger, Josh Ritter, Brandi Carlile, and Nathaniel Rateliff, and since his debut with the Colorado Symphony Orchestra in November 2013 has performed with symphonies across the country including the Seattle Symphony, the Oregon Symphony Orchestra, the National Symphony Orchestra, the Atlanta Symphony, and the Vermont Symphony Orchestra, among others.
Swearin’ is the kind of band that comes around, at best, once a decade. Thankfully for us, they’ve come around twice. After releasing two beloved full-lengths, 2012’s Swearin’ and 2013’s Surfing Strange, the Philadelphia band quietly put things on hold. It was due, at least in part, to the band’s main songwriters, Allison Crutchfield and Kyle Gilbride, ending their romantic relationship. And though Swearin’ tried to soldier on, it became far too stressful to keep going. But after a few years apart, those bad feelings disappeared. And when the band’s three members—Crutchfield, Gilbride, and drummer Jeff Bolt—found themselves in a room again, the conversation inevitably turned back to Swearin’. “Drunkenly, without any hesitation or inhibitions,” said Crutchfield, “we asked, ‘What would it take from each of us? What would we need to do this again? What would we want to accomplish if we decided to be a band again?’” They realized that what they all wanted was to not just play shows, but to make a new record. Before the band initially split, they’d already started writing for what would have been their third album, but instead of going back to that old material, they wanted to do something that reflected the people they’d become during those intervening years. “When a band re-forms and makes a new record that is trying to sound like the heyday of their band, it doesn’t sound genuine,” said Bolt. Before long, Crutchfield and Gilbride had a new batch of Swearin’ songs, ones that meshed with the sound they’d originally developed together but boldly pushed things forward. The result is Fall into the Sun, a Swearin’ record that doesn’t try to obscure the passage of time but instead embraces it. “Getting older, your tastes change, and what you want to do changes,” said Bolt. Those changes, though subtle, are impactful, making Fall into the Sun what Crutchfield calls “the adult Swearin’ album.” It can be seen in songs like “Big Change,” where she says goodbye to Philly and the scene that she came up in, or in “Dogpile,” where Gilbride offers the line any aging punk can relate to: “By pure dumb luck I’ve gotten where I’m going.” Where Swearin’ used to pummel through their songs, on Fall into the Sun, they bask in what this newfound openness offers. It’s most notable on the ambling “Stabilize,” which sees the band throw their weight around in the song’s back half, offering up what’s easily the heaviest riff in the band’s catalog. “I think both me and Allison have gone through huge transitions in our lives. There was a lot on our minds, and it was a super fertile time to put a bunch of songs together,” said Gilbride. It’s true of the material found on Fall into the Sun, but it’s noticeable in the album’s production, too. Much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “I feel like this was the first time I could look at a Swearin’ record and say that I co-produced it, and that felt really good,” said Crutchfield. Recorded in both Philly and Los Angeles, where Crutchfield now resides, Fall into the Sun took shape by the members giving their full trust to one another, and it can be seen in the final product. Listening to Fall into the Sun, the old Swearin’ is still there, but it’s a more confident, collaborative version than the one people first came to know. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. Though it may have taken them a while, Swearin’ finally made the third album they always wanted. Fall into the Sun is as riotously affirming as their early work...
NOW Merry Christmas brings you the best 20 Christmas tracks all on one CD! The updated album now includes songs from Sam Smith, Bruce Springsteen and Kelly Clarkson as well as classics from Frank Sinatra, Nat King Cole and Bing Crosby
I Loved You At Your Darkest; A crushing salvo of black metal majesty replete with hellish riffs, thundering drum cannonades and soaring liturgical choirs reminiscent of classic horror cinema!
“It cannot be more blasphemous than this.”
That’s Behemoth mastermind Nergal talking about the title of the band’s 11th and latest album, I Loved You At Your Darkest. While it certainly seems an unlikely title for a black metal band—especially one that called their last album The Satanist—its origin might surprise you even more than the words themselves. “It’s a verse from the Bible,” Nergal reveals. “It’s actually a quote from Jesus Christ himself. For us, being a radical extreme metal band, it’s sacrilegious to the maximum.”
Now available on CD in the U.S.; the release of Stone Woman marks a new chapter for Charlotte, one defined by clarity, vulnerability and strength. It is a clear statement of intent, a stirring demonstration of Charlotte’s power and poise and her certain emergence as an essential voice in 2018 and beyond.
The vinyl LP will be produced in Multi-colored splatter vinyl. The new album from Boston band Tall Heights, Pretty Colors For Your Actions, finds the duo, Paul Wright (cello and vocals) and Tim Harrington (guitars and vocals), exploring a range of musical influences and emotions. The album, co-produced by Oliver Hill and Steve Wall (both of whom worked on Tall Heights 2016 album Neptune), is underpinned by the duo's signature melodies, layered and shaped with live instrumentations and contemporary production to create the sonic universe that is Pretty Colors For Your Actions. The songs range from hard-hitting ballads ("House on Fire" and "Not Like It Was") to hook-laden, synth-heavy numbers ("Oslo" and "White Frost") to sprawling jams ("Over Now") and philosophical trips ("Roanoke"). The lead single from the album, "The Deep End," is both buoyant and upbeat, yet clouded by a feeling of darkness, a conflict of emotions further explored in "Midnight Oil," from which the album's title is taken. The highly-anticipated release of Pretty Colors For Your Actions is just the start of a huge fall for the group, who will then take their newly-released music across North America for 30+ headlining tour dates beginning this October. The energy, focus and inspiration that Tall Heights are harnessing in 2018 feels like a rebirth. Having amassed over 120 million streams, the duo are currently on their biggest winning streak, touring the US and Europe alongside acts like Ben Folds, CAKE, Judah & the Lion and Colony House, and racking up accolades across the press world from the likes of Paste, SPIN, Huffington Post, NPR and Stereogum, in addition to making their broadcast performance debut on Conan.
On Oct.5, 2018 Provogue Records will release Shades, singer-songwriter and guitarist Doyle Bramhall II’s debut for the label. Shades is a spellbinding blend of grungy blues, raucous garage rock, transcendent psychedelia, and soothing, soul-stirring ballads that sees Bramhall reaching new heights as a multi-instrumentalist (he plays guitars, bass, drums and keyboards), producer and vocalist while responding to his heart’s most urgent commands as an arranger and lyricist. What is it about Doyle Bramhall II, and why does everybody want to work with him? Shades features a host of friends and luminaries who have all, in one way or another, played significant roles in Bramhall’s musical story: Eric Clapton, Norah Jones, the Tedeshi Trucks band, and Austin buds the Greyhounds. Since 2000, the uniquely gifted guitarist, singer, songwriter and producer has been practically joined to Eric Clapton’s hip as both an onstage and studio collaborator. Clapton makes a notable appearance on the album, providing blistering back-and-forth guitar work with Bramhall on the quaking R&B-tinged “Everything You Need”. Bramhall and pianist-singer Norah Jones have been making music together for years, and the two form a heavenly alliance on the elegant ballad “Searching for Love.” Shades concludes with a reverent reading of Bob Dylan’s classic “Going, Going, Gone,” a gem from the singer's 1974 album, Planet Waves. Bramhall had recently performed the song with the Tedeschi Trucks Band at a Gregg Allman tribute concert last year, and he felt that a reunion with the group would make a powerful coda on his record.