Post Malone’s 4th studio album, Twelve Carat Toothache, is his most intimate and personal opus to date. Throughout the 14 tracks, Post takes us with him on his trials with fame, giving a glimpse into the irony of seemingly having it all, but feeling like nothing all at the same time. In an interview with Billboard, Post explained he wants the new songs to “speak more to how I’m feeling at the moment: the ups and downs and the disarray and the bipolar aspect of being an artist in the mainstream.”

On her sophomore album, S.G. Goodman brings a series of powerful vignettes to life, with a sound that builds off her Southern roots but ventures deeper into indie rock and punk. Teeth Marks is about what love actually is: its psychological and physical imprint, its light, and its darkness.

The fifth studio project from the Tedeschi Trucks band, is the most ambitious and, at the same time, intimate record that America's best rock'n'roll big band has ever made: a genuinely epic undertaking in four episodes and 24 songs inspired by classical literature but emotionally driven by the immediate drama, isolation and mourning of the pandemic era.

Welcome 2 Club XIII, DBT’s 14th studio album, marks a sharp departure from the trenchant political commentary of their last three records.

A reckoning with the dualities of the things that make you alive and how they sometimes can kill you. A life affirming flashlight for the dark nights of one’s soul.  The title track is a tongue in cheek homage to a local dive that founding members Cooley and Hood played in the early days. As they say in the song “Our glory days did kinda suck”.

James Brown had the Apollo. Jimi Hendrix had Monterey Pop. And Prince had Syracuse, New York’s Carrier Dome—the Purple Rain Tour performance that was beamed to millions live via satellite and captured for posterity in the Grammy Award-nominated concert film Prince and The Revolution: Live, and has since gone down in history as one of the most iconic live recordings in pop and rock history. Available on vinyl for the first time, this powerful performance by Prince and The Revolution has been entirely remixed from the original 2” multitrack master reels. The new version of Prince and The Revolution: Live will be available on 3 black LPs with a 16-page book with never-before-seen photos of the Purple Rain Tour and new liner notes.

From Orpheus to Icarus, depths to heights, and the thresholds in between. I’m interested in the moment when something becomes something else, when somewhere becomes somewhere else. That membrane that separates inside from outside. Retreating as we do in to the underlands , to molt our plumage, to exorcise our inside problems and emerge like newborn foals shaking, naked, squinting in the light. Don’t you know that I’m an irrepressible optimist working with a fatal flaw? The ghost that refuses to appear in the clock across the hall. You can set the table and call to her, but she decides when to visit. So, we imbue objects with crazy power to forget that we’ve been abandoned at a truck stop on the Ohio turnpike. To forget that we took a scouring pad to the places where art, music and community thrive. Promise to resist until you die and never fall apart again. - ANDREW BIRD
• Produced by Mike Viola
• Recorded at United Recording
• Featuring musicians: Alan Hampton, Madison Cunningham, Abe Rounds, Jimbo Mathus, Mike Viola

"Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us.

Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen’s Big Time were forged in such a whiplash.

“I can’t say that I’m sorry / when I don’t feel so wrong anymore,” the record begins, her voice softer and more open than ever, as if she’s singing through a hard won smile. “All the Good Times”, a twangy banger with nods to JJ Cale, starts the album on a triumphant and bright note. The title song, “Big Time”, follows and continues the warm optimism. “Guess I had to be losin’ to get here on time,” she sings, a fearless love song co-written with her partner.

Big Time is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen’s process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she’d been avoiding for some time.

“Some experiences just make you feel as though you’re five years old, no matter how wise or adult you think you are,” she writes of that time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. “Finally, at the ripe age of 34, I was free to be me.”

Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Though she was fearful their presence as a newly out queer couple would be “an additional symbol of loss,” those days went peacefully, yet only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. Another trip back to St. Louis, another grief to face, another deepening and intensification of this still-new love.

The shards of this grief—the shortening of her chance to finally be seen more fully by her parents—are scattered throughout the album. “It’s a hard time again,” she sings on “This is How It Works”, pushing against the irrevocability of death, “Tell me a story that will make me forget.” “Go Home”, which begins with an almost numbed calm, slowly builds up to a wailing that comes up straight from the ground: “I want to go home, go back to small things. I don’t belong here. Nobody knows me.”

“You can’t plan grief, you can’t organize it or schedule it or know how you’ll feel when it comes. It just happens, and when it does sometimes it’s not what you thought it would be.” Three weeks after her mother’s funeral she was in the studio, recording this incredibly wise and tender new album.

Loss has long been a subject of Olsen’s elegiac songs, but few can write elegies with quite the reckless energy as she. If that bursting-at-the-seams, running downhill energy has come to seem intractable to her work, this album proves Olsen is now writing from a more rooted place of clarity. She’s working with an elastic, expansive mastery of her voice—both sonically and artistically. These are songs not just about transformational mourning, but of finding freedom and joy in the privations as they come.

Playful bits of Tammy Wynette and Kitty Wells are here, too, but so are the complex orchestrations of her genre-bending 2019 record, All Mirrors. While that record was full of dramatic shifts and twists, here the surprises come in their simplicity—a slow swell of strings, instrumentation that cycles like a storm, or sparkling horns in a light-flooded break-up ballad.

While the spritely nature of her last EP, Aisles, may have signaled Olsen’s turn deeper into the electronic direction of her last All Mirrors, there’s hardly a synth in sight here. Jonathan Wilson, served as co-producer and also mixed the tracks, while Drew Erickson played piano, organ, and scored the string arrangements. Emily Elhaj, Olsen’s longtime bandmate, was a consistent collaborator as well, on the bass throughout.

“And I can’t fit into the past that you’re used to, I refuse to,” she sings as a wraithlike piano scaffolds her hopeful voice on “Ghost On”. “Forget the old dreams,” she rejoices on “Go Home”, “I got a new thing.” Darkness inherently suggests depth, but it takes a much wiser writer to find meaning and complexity in the luminous place that Big Time occupies. “Chasing the Sun” ends the record in a smiling, romantic place, a verdant crescendo rising as she pines: “Write a postcard to you / when you’re in the other room/ I’m just writing to say that I can’t find my clothes / If you’re lookin for something to do.”

The burning of her earliest work is still here, of course, but this time she’s “freed from the longing / for one moment to last” and she’s ready to “walk through the fires / of all earthly desires.”

—Catherine Lacey
Oaxaca, February 2022"

"Fusing elements of each of his early influences, from Joni Mitchell to Phoebe Bridgers, Zaidi is creating soundscapes that bring awareness of documenting the euphoric high-and-low feelings of youth." - Unpublished Magazine. "Reminds us of the Garden State soundtrack in all of it's closeness and acoustic guitar strumming. This one's terrific." - American Songwriter. '2013' is a sweeping nostalgic offering from Zaidi... emotive, lyrically dense reflections... pulling from folk touchstones." - Under The Radar. "Formerly lo-fi, now increasingly hi-fi future soul musician." - KEXP

Jasmyn is the new solo project created by Jasmyn Burke, former singer-song- writer and frontwoman of the critically acclaimed Canadian band, Weaves. Having two JUNO nominations for Alternative Album of the Year and two SOCAN Songwriting Prize nominations, Burke has established herself as one of Canada’s most exciting and fresh voices.

With this new project, she has decided to use her own name, Jasmyn, to mark the start of exploring her own unique sound as a solo artist. Collaborating remotely with Los Angeles-based producer John Congleton (St. Vincent, Angel Olsen, Sharon Van Etten) on a body of work she had compiled over months of being in lockdown. Finally in the Spring of 2021, Jasmyn went to LA to record with Congleton, exploring themes of finding patterns in life and how to perhaps change them.  

On the general direction of her new album In the Wild, Jasmyn said, “This was written during the Fall of 2020; The world was feeling pretty heavy, and I felt myself wanting to write music that created a mood of happiness and space to grow. I feel like I have grown and changed as a person over the last few years and wanted to write songs that created a sense of confidence and well-being.”

With Weaves receiving worldwide support from the likes of Rolling Stone Magazine, NPR, Pitchfork, and more, Jasmyn is excited to share a new side of herself, perhaps her most honest and raw work to date.

Released in 1970, Watertown is a lost masterpiece. It was a turning point for Frank Sinatra: a concept album from the man who pioneered the concept album, written by Bob Gaudio, of Four Seasons fame, and Jake Holmes, who previously had written the Four Seasons’ own concept album.

Despite a top 5 AC chart showing for the single “I Would Be In Love (anyway),” the album was poorly received at the time, but has gone through a re-evaluation in recent years and is now considered one of Sinatra’s finest recordings.

The LP edition featuring the original 10-track sequence, a package with all original lyrics, a printed sleeve with new liner notes, a track-by-track breakdown from Mr. Gaudio, and a 12” X 24” poster.

 

Darius Rucker will be releasing his #1's on CD for the first time. It includes 10- #1 Hits that span over 10 years. It begins with "Don't Think I Don't Think About It" which was his first #1 and all of the way up to 2020 with his #1- "Beers and Sunshine". Darius has released 5 solo country albums on Capitol Records Nashville that have included 10 #1 Country Songs.

"'Paper Vows' is a chilled melodic gem, with Birkenes gliding over top of synth bass, glossy electronics, and a slick beat. Though the results are undeniably dreamier, beneath the production Birkenes' resonant vocal talents and skill with a pop hook are on full display. Lyrically, the track is a biting look at changing gender norms, with Birkenes seizing her own power and independence back. As she says early in the song, "I see that I'm / the one to save me." - Under The Radar

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, it's 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

Having taken some time out after the busy schedule surrounding their 2003 debut album Keep On Your Mean Side, The Kills returned with No Wow in 2005, a dark and brooding musical examination of the period in which New York's punk scene became its dance scene. This 2022 reissue features new mixes of the original album by Tchad Blake (Arctic Monkeys, The Black Keys, Sheryl Crow).

10th anniversary edition! New alternate all black cover & vinyl labels. Special photo discobag. 

Riff-monsters Crobot conjures up the kind of rock 'n' roll that has grooves so powerful they throw you around the room and hooks high enough to shake the heavens. With tens of millions of streams, countless shows and acclaim from the likes of Metal Hammer, Classic Rock, Kerrang, BBC Radio, SiriusXM Octane, Loudwire, Guitar World and more, Brandon Yeagley [vocals], Chris Bishop [guitar], Tim Peugh [bass], and Dan Ryan [drums] realize their vision like never before on their fifth full-length, 'Feel This', available everywhere June 3rd via Mascot Records. 'Feel This' is the follow-up to 2019s Top 10 Heatseekers album Motherbrain - whose cumulative streams have surpassed 30 million. 20 million of which were for the goliath single "Low Life" - a US Top 10 hit at the Mainstream Rock radio with a 29-week run on the Billboard charts. "This is the record we've been wanting to do ever since we started," exclaims Brandon. You'll feel rock 'n' roll comes to life in Crobot's hands. "We never want to make the same album twice," Brandon leaves off. "There is something for every Crobot fan out there as well as newcomers. At the same time, we're having fun. We want to be taken seriously, but not too seriously-because this is monkey hour after all. We want you to walk away smiling. If we can make you smile, we've done our job".

Keanu Reeves plays Neo, a computer hacker who learns from mysterious rebels about the true nature of his reality and his role in the war against its controllers.  The Matrix went on to become a billion dollar franchise, and Don Davis' epic scores propelled the story forward across three films.  With The Matrix returning for a 4^th installment, new and original fans are revisiting the film that started it all.  The original score is presented here in all its glory, 44 tracks over three LP’s, a substantial expansion of the 10 track album released at the time of the film in 1999. 

This deluxe 3-LP set expands the original 10 track vinyl release to encompass the complete film score of 44 tracks.  Housed in a stunning new art design featuring a three feet long fold-down cover, the package also includes classic film stills and an exclusive new interview with composer, Don Davis.

BDP's first album--and the only one to include the late DJ Scott La Rock--sounded harder than hell when it came out in 1987. Though the simple beat-box patterns on a few tracks sound dated, most of La Rock's tracks are bluntly effective, especially the AC/DC riff he appropriates on "Dope Beat." And KRS-One still performs most of his Criminal Minded rhymes, because his audience knows them word for word: the ultraviolent dancehall of "9mm Goes Bang," the battle cry of "South Bronx" (and its counterpart, the anti-Juice Crew screed of "The Bridge Is Over," with its little Billy Joel homage), the catalog of La Rock's condom collection on "Super-Hoe." KRS bloomed later; here, he just rocked.

Spaceface is a self described "Retro Futurist Dream Rock" (but you can call them psychedelic-pop) band from Memphis, TN and Los Angeles, CA, active since 2012 and including current and past members of The Flaming Lips and Pierced. Their unique alloy of dream-pop, funk rock and post-disco, charged by the Sun, ultimately shines way past our collective bedtime, akin to a glow-in-the-dark Slime Science Lab kit. Spaceface's upcoming full-length, Anemoia is the result of several months spent at Blackwatch Studios in 2019, working with producer Jarod Evans, writing new material, inspired by funk rock classics, as well as the turn of the millennium psychedelia revival. Pressed on limited "Libation Initiation' orange swirl color vinyl.

Fantastic Negrito’s upcoming album and short film "White Jesus Black Problems" was inspired by a search into his ancestry where he found that his 7th generation grandmother was a Scottish indentured servant who entered into a common law marriage with an African American enslaved man, his 7th generation grandfather, in open defiance of the racist laws of 1750’s colonial Virginia. Their love story is a healing testament to standing up against inhumane and brutal systems with love as your only weapon. 

Last summer, Memphis May Fire - Matty Mullins (vocals), Kellen McGregor (guitar), Cory Elder (bass) and Jake Garland (drums) - dropped a series of singles, which accumulated nearly 35 million streams combined as fan excitement reached fever-pitch levels. The new material was repeatedly lauded by Revolver, SiriusXM, Loudwire, WSOU and HM. Additionally, each song drop had a philanthropic element and was accompanied by a piece of charity-driven merch that was available at the band's online store.

Today, the band has announced its seventh album, "Remade in Misery." The album arrives on June 3 via longtime label Rise Records. Preorder it here.

He adds, " `Remade in Misery' is undoubtedly a new season for MMF. We have truly rediscovered who we are as a band through these songs, and we can't wait to bring them to life on upcoming tours..

MEMPHIS MAY FIRE / REMADE IN MISERY

Adrian Quesada (Black Pumas) presents ‘Boleros Psicodélicos’: a celebration of the super funky, slightly delirious and deeply soulful sounds that transcended the cultural boundaries of Latin America throughout the late '60s and early '70s. All twelve tracks were produced, engineered, mixed and largely performed by Quesada with vocals from former Calle 13 member iLe, Gabriel Garzón-Montano, Girl Ultra, Angelica Garcia and Gaby Moreno. Marc Ribot and Money Mark (Beastie Boys) also contribute.

Nicki Bluhm's creative confidence and authentic vocals are front and center on AVONDALE DRIVE, her sophomore solo album and the follow up to her critically-acclaimed 2018 release To Rise You Gotta Fall. The native San Franciscan who now calls Tennessee home possesses a gorgeously emotive voice and her clear-eyed perspective on life informs the 10 tracks on the new release. Produced by Jesse Noah Wilson and recorded in East Nashville, the new album features a cast of musical luminaries including Oliver Wood, James Pennebaker, Jay Bellerose, Jen Condos, Erik Slick, Erin Rae, Karl Denson and AJ Croce. The album combines nostalgic country-rock with distinctly modern lyricism-an apt contrast for the process of studying one's past in order to make a better future. Stand out tracks include a duet with Oliver Wood on "Friends", the folksy "Juniper Woodsmoke, the reflective "Learn to Love Myself and "Wheels Rolling," a windows-down, hit-the-gas banger that ends the album Bluhm's music career began in the Cow Hollow area of San Francisco, where she recorded two solo albums and co-founded Nicki Bluhm and The Gramblers. After gaining widespread attention for their "Van Sessions" on YouTube, in particular their cover of the Hall and Oates classic "I Can't Go For That" which has garnered nearly 4 million YouTube views, they toured internationally and recorded two albums as a band. Since embarking on her solo career, Bluhm has carved a niche for herself as a powerful and incisive writer as well as an unparalleled vocalist. In addition to her solo work, Bluhm is also a sought-after collaborator with an A-list of icons and tastemakers including The Wood Brothers, George Porter Jr., The Infamous Stringdusters and Phil Lesh.