Music Releases 10-11-19
Lead singer and lyricist Guy Garvey describes the album as “an angry, old blue lament which finds its salvation in family, friends, the band and new life.” It is a record that lyrically takes in moments of deep personal loss whilst reflecting its times by confronting head-on the spectres of injustice and division not just in the UK but across the world. It is a record that could only have been made in the 21st Century.
Coming October 11th: the debut solo record from Kim Gordon. With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music. It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.
Selections From The Vault features tracks taken from Steve Miller’s career spanning deluxe 3 CD + DVD box set, Welcome To The Vault. The clear vinyl 1LP edition features 8 tracks, all of which are previously unreleased. Highlights include Rock’n MeAlternate Version 1, Crossroads Live and Fly Like An EagleAlternate Version, plus Steve Miller’s version of Love Is Strange, which has never appeared on a release until now.
On their fourth LP (after Allah-Las, Worship The Sun and Calico Review), drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian A.K.A Allah Las turn their collective gaze outward and toward the horizon. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet. “We’ve been traveling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. And this is precisely what sets LAHS apart from its predecessors -- a record inspired less by time, but by place. “LAHS to me feels like a soundtrack to the past 5 years or so. A sort of audio postcard to anyone who wants to listen.”
PETRA was written, produced, and performed by acclaimed multi-instrumentalist/ songwriter Anthony LaMarca, also known for his role as guitarist in The War On Drugs. Like so many Midwestern musicians before him, LaMarca left his beloved hometown of Youngstown, OH for Brooklyn but returned in 2014 and began work as The Building, often joined by his brother Angelo (guitar) and wife Megan (cello) on a series of EPs and albums – including 2017’s acclaimed RECONCILIATION – released via Peppermint Records.
PETRA – which shares its name with the LaMarcas’ beloved German Shepherd – is a bare-boned, often brutally blunt, new work from a gifted musician-songwriter forced by fate to confront life’s hardest truths and consequences. LaMarca had just begun recording at Youngstown’s Peppermint Productions – a vintage studio facility best known for producing everything from polka superstar Frank Yankovic to the Judge Judy theme song – when a spell of intense back pain led to his being diagnosed with Multiple Myeloma. Originally, LaMarca was diagnosed in the middle of making Reconciliation. He immediately started treatment, which brought the disease into complete remission. His disease relapsed last year while in the middle of making PETRA." The experience inspired a second meaning to the album’s title, the acronym P-E-T-R-A, or “Peace’s Eternal Truth Renews All.” Moreover, LaMarca’s physical struggle has resulted in the most powerful work of The Building’s still-growing canon, a vivid series of deeply personal songs such as “Purifer” and the LP-opening “Transformed,” made even more impactful through strikingly simple arrangements and raw, heartfelt performance.
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This Limited Edition Freddie Mercury solo career hard slipcase box set includes 3CDs, DVD/Blu-ray, 120-page hardback book featuring rare photos of Freddie + quotes, Poster + Postcard.
Iconic. Incomparable. Irreplaceable. But never, ever boring. Freddie Mercury's spirit is every bit as central to the fabric of popular music today as it was during his unforgettable lifetime. Now comes a unique release to showcase the full range of his musical talents and passions, and their indelible imprint on the worlds of pop, opera and far beyond.
“It's like a coming-of-age crisis,” says Daniel Shultz about Out of the Blue, the messy and melodic debut album from his band, Dan Luke and The Raid. “It’s about being in that space in your 20s where you’re trying to get your shit together and figure things out in life. You’re dealing with your problems”—the singer, songwriter and guitarist pauses—“even as you’re going out and partying and getting into trouble all the time.”
Shultz and his Dan Luke & The Raid band mates know a thing or two about the last part of that equation, as evidenced by the songs and subject matter on Out of the Blue. Throughout the album’s 10 tracks, people are passed out on curbs under neon signs (“Black Cat Heavy Metal”), breaking hearts over rolled-up dollar bills (“Exoskeleton”), leaving baggies lying in passenger seats (“Money Mouth”) and faking smiles and feeling ashamed (“Golden Age”). Legs are bleeding, faces are numb and Shultz declares his band to be the “diamond kings of smut.” All the while, the music throbs and pulses and twitches and buzzes with the energy and enthusiasm and inexperience of youth, bursting with harsh, distorted guitar chords, blown-out synths squiggles and hopped-up rhythms—as well as, on occasion, moments of stunning and sincere melodic beauty.
With the weight and experience of events that have been at times joyful and sad, poignant and puerile, triumphant and tragic, Dan Luke and The Raid continue to carve out their future, one musical moment at a time. “What we want to do is create music, and create music in a way where people feel something,” Shultz says. “And when we see that happening it’s an amazing thing.”
Down ‘n’ Outz Joe Elliott’s side project away from Def Leppard release their brand new Studio album This Is How We Roll. The band is founded and fronted by Def Leppard’s Joe Elliott and backed by members of The Quireboys, Wayward Sons and Vixen. This album made up of original songs all written by Joe Elliott (bar a cover of the Tubes White Punks on Dope is the band’s first album since the Further adventures of was released in 2014. The album produced by Joe and long time Def Leppard engineer Ronan McHugh is the first to contain new songs (the previous albums were as mentioned cover versions) and sees the band channeling a very 70’s feels over 11 new songs and one cover version.
Born on the streets of Los Angeles, Starcrawler is a band possessed by the spirit of its own hometown, every movement charged with a manic electricity. Since forming in 2015, vocalist Arrow de Wilde, guitarist/vocalist Henri Cash, bassist Tim Franco, and drummer Austin Smith have gone from bashing out classic-punk covers in the garage to winning the love of such legendary artists as Shirley Manson and Elton John. They’ve also opened for the likes of Beck, Foo Fighters, Spoon, and MC5, bringing their unhinged energy to an already-fabled live show—a spectacle that’s simultaneously lurid and glorious and elegant as ballet. On their sophomore full-length Devour You, Starcrawler captures that dynamic with a whole new precision, revealing their rare ability to find a fragile beauty in even the greatest chaos. Produced by Nick Launay (Nick Cave & the Bad Seeds, Yeah Yeah Yeahs, L7), Devour You takes the feral intensity of their 2018 self-titled debut and twists it into something grander and more gracefully composed. With its more elaborate and nuanced yet harder-hitting sonic palette, the album came to life at the famed Sunset Sound, where the band spent their downtime playing H-O-R-S-E at the basketball hoop and drinking lots of Mexican Cokes. Adorned with so many unexpected flourishes—choir-like backing vocals from a local Girl Scouts troop, tuba and trombone riffs courtesy of Cash (the band’s 18-year-old musical polymath)—the result is a selection of songs radiating both raw sensitivity and untamable power. Heavy and swinging and brutally catchy, “Bet My Brains” shows the psychic kinship at the heart of Starcrawler’s songwriting. “That song came from thinking about the mole people in New York and Vegas and the Catacombs in France, and the underground village of people who live in the sewers of the L.A. River,” says de Wilde. “I was fascinated with the fact that there’s whole other world happening right under our feet.” Elsewhere on Devour You, Starcrawler drifts from the dreamy piano lilt of “No More Pennies” to the rock-and-roll disco of “You Dig Yours” to the pure punk vitriol of “Toy Teenager” (a song about de Wilde’s refusal to be abused the fashion industry, and about how “people look at my body and just want to put me on a platter”). And on “Born Asleep” the band lets their love for country music shine, slipping into a modern-day murder ballad spiked with pieces of hazy poetry (sample lyric: “I remember when you cut your lip, sippin’ on a soda can/And the time when you fell and tripped, screaming at the ice cream man”). As an antidote to the toxic mildness overtaking so much of the city, Starcrawler’s live show has only become more outrageous over the years. Prone to spitting fake blood and slapping phones from the hands of crowd members, de Wilde has proven to be a once-in-a-lifetime performer, captivating enough to command a room with just the widening of her eyes. “We want to put on a real show and give people some kind of escape from all the shit going on in the world,” she says. “And with the album, I want people to put it on and feel excited, and hopefully get goosebumps. I always want there to be a dramatic response.”
Busting onto the scene in 2012, Waterparks have always been a band with hard-hitting lyrics and quirky personalities. On their latest album 'Fandom, ' releasing October 11, 2019, they bring their music to the next level, addressing everything from the familiar themes of heartbreak and depression to polarizing topics such as the hate rock bands often receive for wanting to make a living.
Originally formed in 1987, electronic music pioneers return with their first new album since 2002. Recorded entirely in Manchester, some tracks are haunted by their home city’s industrial past – and… the influence of classic Detroit techno… but the whole thing stays true to the band’s career-long focus on what comes next. Recent press in Mixmag, RA, Magnetic Mag… lead single “Tokyo Tokyo” premiered June on BBC 6Music… Tour plans announced soon. 140g double black vinyl in gatefold jacket.
Aptly entitled “For The Dead Travel Fast” after German gothic poet Gottfried August Bürger, Kadavar’s doomed fifth record is a perilous journey into the land of the dead, a foray into the bleakest corners of our minds. A heavy, slow-paced, throbbing force of guitar, bass and drums, preciously enriched by spooky synths and a brooding narrative reminiscent of the Victorian death-cult. Beware, this is Kadavar gone pitch-black! Think Hawkwind with old Pink Floyd melodies, eerily sung to you from the grave. Just like the album cover, taken in front of Dracula’s alleged crib in Transylvania, mysterious Castle Bran, the whole album is drenched in superstition, Romanian folklore and the mysterious ways of our psyche. Self-recorded and self-produced , “For The Dead Travel Fast” is Kadavar’s very own death cult, an album at the same time uncanny and extremely powerful.
Virginia Metalheads MUNICIPAL WASTE return with a fresh EP for fall 2019. It’s been few years and several hundred live shows since the Waste oozed out the much celebrated Slime and Punishment album. Back with 4 ripper tracks that embrace all the bands punk and street metal roots without clutching the past. That honest formula has led the Waste to innovate the festival scene with the opening track and party of the summer “Wave of Death”. Charged by the exotic and biting wit of vocalist Tony Foresta. Turbo charged by the dual guitar aggression of Ryan Waste and Nick Poulos. Locked in and ready for takeoff by rhythm section LandPhil Hall on bass and Dave Witte on Drums. Partiers, you’ve been taught the “Art” and now it is time for an advanced lesson. Thrashers on alert! MUNICIPAL WASTE is delivering, The Last Rager.
Grade 2 are a UK punk band from the Isle of Wight, formed in 2013. The young three-piece is made up of Sid Ryan - Bass & Lead Vocals, Jack Chatfield - Guitar & Vocals and Jacob Hull - Drums. Their music can be described as a classic punk sound, hard and fast whilst also including melodic guitar and vocal parts. Influence taken from classics such as The Clash, The Jam and The Stranglers. While touring, the band met Lars Frederiksen (Rancid) who took an interest in Grade 2 and ultimately played some of their music videos to his bandmate Tim Armstrong. Armstrong liked what he saw and not only agreed to produce the band's forthcoming record but signed them to his label, Hellcat Records. Last December, Grade 2 flew to Los Angeles, and over the course of two weeks, tracked the dozen songs that comprise Graveyard Island. "He's one of the most efficient people we've ever worked with. He knows exactly what he wants. In the studio, he wanted to capture how we sound onstage, so we were tracking songs live with a scratch vocal," vocalist/bassist Sid Ryan said on working with Armstrong.
Some 25 years into his career as a recording artist, ART ALEXAKIS— best-known as the singer-guitarist and sole songwriter behind the iconic alt-rock outfit EVERCLEAR—has started a new chapter in his remarkably prolific career, now as a solo artist. Writing songs and performing all instruments on his own, Alexakis recently began working on compositions that will comprise his first-ever solo album, which he intends to unveil in 2019 via The End Records/BMG. A key driver for Alexakis’ solo initiative has been the work/rehearsal/recording space he recently constructed near his home in Southern California. The singer-guitarist—who’s also a husband and father— enjoys an inspiring work-life balance that allows him to conveniently create whenever he likes, quickly shifting back and forth between the studio and home. He uses his studio HQ—which is also Everclear’s rehearsal space—to frequently collaborate with co-producer/engineer Stuart Schenk (Invisible Stars), who is helping Alexakis develop his still-forming solo material. For several years Alexakis has been performing solo shows, dubbed “Songs and Stories,” where the singer-songwriter plays stripped-down acoustic versions of past favorites, while also offering the audiences tales and anecdotes pertaining to those compositions. He says he hopes to showcase new solo material at upcoming acoustic shows, but future live solo performances may expand upon that concept, with backing musicians potentially helping Alexakis recreate the diverse sounds he’s now exploring as a solo artist. Creating outside of the Everclear realm also gives Alexakis the chance to explore styles and sounds that don’t necessarily work for his band. His solo work will continue to push the boundaries of what you can expect from an Art Alexakis composition, as no direction or source of inspiration is really off the table. He cites everything from the Hamilton soundtrack to the great acoustic singer-songwriters as influences for his own writing.
We ve come Full Circle and Then Some, goes the chorus to the title track of Trigger Hippy s sophomore album, their debut for Nashville indie label Thirty Tigers on the Turkey Grass Records imprint, and it s the perfect description of the long road these experienced musicians have traveled to arrive with an eclectic set that burnishes their collective roots from country, delta blues, R&B and gospel to southern rock and funk, from Memphis soul to New Orleans honky-tonk. This new collection spotlights Trigger Hippy s patented call-and-response duets and three-part vocal harmonies, with a stylistic range that encompasses traditional country plaints ( Strung Out on the Pain ), classic rockers (the title track), honking blues ( Dandelion ), a Basement Tapes-ish swamp-pop nod to the devastation of Katrina ( Goddamn Hurricane ), Dr. John-meets Allen Toussaint bayou grooves ( Long Lost Friend ) and even a psychedelic trance/dirge raga ( Born to be Blue ).
It s hard to know how people are gonna react, Chris Knight says of Almost Daylight, his ninth album and first new recording in over seven years. I ve written songs about a lot of different things going all the way back to my first record, and some folks still think somebody kills somebody is all I write about. Maybe that s why I was bound and determined to get these particular songs on this album. If people like them, then we ll be fine. But I wasn t gonna do it any other way. For the past 20 years, Chris Knight has only made music his own way. He s released eight acclaimed albums, played thousands of electrifying live shows and built generations of fervent fans from Texas honky-tonks to Manhattan rock clubs. He s been hailed as the last of a dying breed...a taciturn loner with an acoustic guitar and a college degree (The New York Times) and a storyteller in the best traditions of Mellencamp and Springsteen (USA Today). Bottom line, he s hard-earned his reputation as one of America s most uncompromising and respected singer/songwriters. And now with Almost Daylight, Knight delivers the most powerful and unexpected music of his career. Almost Daylight is very much a Chris Knight album, familiarly featuring vivid pictures of rural characters, desperate men and hardscrabble survivors. At the same time it s unlike anything Knight has done before, with formidable testaments to compassion, redemption and even straight-up love. It s an album both tough and tender, as bare-knuckled as it is open-hearted. I do think there s a cohesiveness to this album, Knight explains in his thick Kentucky rasp. The title is key, I suppose. Through all these songs, you could find a theme about seeking shelter. Produced, mixed and mastered by Grammy-winner Ray Kennedy best-known for his 30+ year creative partnership with Steve Earle as well as producing Chris Enough Rope (2006), Trailer II (2009) and Little Victories (2012) albums Almost Daylight also sounds like no other Knight record, with scorching guitars by Georgia Satellites founder and two-time Knight album producer Dan Baird, rich background vocals by Chris Clark, Siobhan Kennedy and Lee Ann Womack, and deeper instrumentation than ever before. Chris had been playing some of these songs on the road and started developing ideas before we got to the studio, Kennedy says. He and I talked about keeping the Appalachian factor with banjo, fiddle, harmonica and mandolin where it felt right. It was significant that Dan was involved, as he s the man who can play guitar with the right feeling for Chris. The background vocals really brought the fire, and this lead to ideas for piano, Hammond B-3, accordion and Wurlitzer electric piano. Everything evolved from the performance of each song and I let the songs dictate what they needed in order to evolve into an album. I was determined not to do any acoustic songs on this album, Chris explains. I wanted it all to sound edgy and raw, but to feel big at the same time. We kept trying different approaches until I felt we landed on what worked. The thing is, some of my songs might take a year of writing before I even think they re ready for recording and I fretted about every one of these. I ve never put a cover song on any of my records before, but there are two covers on this one. And I think it all fits together pretty good. The album opens with I m William Callahan , a defiant roar fueled by equal parts pride, memories and searing guitar. Crooked Mile is classic Knight, a piercing take on outsiders bound by love, while the poignant Send It On Down is a plaintive plea for salvation. There are tales of small-town despair ( I Won t Look Back ), ominous rural menace ( Trouble Up Ahead ) and melancholic break-ups (
"The Sound of Scars feels like such a monumental moment in Life of Agony's story. On one hand, we've come full circle, continuing the concept of our 1993 debut River Runs Red, and on the other hand, we've reached new heights with the raw power of the sound and songwriting. We really cannot wait for fans to sink their teeth into this beast and take this emotional journey with us. This record is a monster." -Alan Robert, Life of Agony Life Of Agony emerged from the New York music scene in the early '90s with one of the most distinctive sounds in its genre. Best known for its 1993 metal/crossover debut River Runs Red, the band instantly built a die-hard, cult following. For over two decades, the group toured relentlessly all over the world, sharing stages with the biggest names in rock, including Metallica, Black Sabbath, Ozzy Osbourne, Foo Fighters, and The Red Hot Chili Peppers. After the much-praised Ugly (1995), LOA opted for a highly energetic alternative rock approach on Soul Searching Sun (1997) and Broken Valley (2005) – the latter produced by Greg Fidelman (Slipknot, Metallica). Life of Agony has sold over one million albums to date. This Fall, the Hard rock and crossover metal veterans return with their hard-hitting, emotional concept album The Sound of Scars, that will continue the haunting narrative from the band’s groundbreaking 1993 debut River Runs Red, which Rolling Stone hailed as “One of the greatest metal albums of all time.“ Produced by Sylvia Massy (Tool, System of a Down), whose work has received multiple Grammy Awards and nominations, along wih LOA’s Joey Z (with mixing duties helmed by Massy), have tapped esteemed engineer Howie Weinberg (Nirvana, Soundgarden) to master the band's so catchy, personal and heavy record. In support of their brand new album, Life of Agony featuring vocalist Mina Caputo, guitarist Joey Z, bassist Alan Robert, and drummer Veronica Bellino, will embark on an extensive S.O.S WORLD TOUR starting this Fall, showcasing their incredible live energy all over the globe!
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The 12” Single from Dream Theater which features the band’s signature hit "Pull Me Under." Presented on 140g, translucent yellow vinyl.
Since moving to New York, Corey King has focused on being adaptable in many musical environments without sacrificing his musical integrity. He has had the opportunities to perform/record with notable artists such as Bonobo, Esperanza Spalding, Dr. Lonnie Smith, Glen Hansard, Mos Def, Gil-Scott Heron, D.J. Premiere, ATrak, Doc Daneeka, Nick Hook, José James, Bilal, Mary J. Blige, Hercules and Love Affair, Mark Ronson, Maria Daulne (Zap Mama), Lauryn Hill. Whereas his 2016 outing Lashes dabbled more with rock and indie influences, A Loveless Sunken Sun manifests the breadth of King’s influences; a picturesque world that is equal parts Electronic, Krautrock and Afrobeat. There is a feeling of rootless-ness in this record as King processes gratitude, wonder, and sorrow related to the demands of travel, new responsibilities, and loss of his grandmother. This atmospheric and richly impressionistic work offers a glimpse of King’s moody and rewarding experience of life. The release will be available on standard weight, black vinyl.
19 year-old singer, composer, producer, and multi-instrumentalist Julien Chang makes his debut on Transgressive with Jules. Living in Baltimore, Julien studied classical and jazz throughout high school before deciding to start composing his own music. At 17, he began building a studio in his parents basement, adding new gear with each paycheck from his job at a local grocery store. The albums first single, ''Of The Past'' was championed by BBC Radio 1 and playlisted across Apple Music, Spotify and Amazon Music.
Over the past two decades, Kendell Marvel has become one of the great legendary songwriters in Nashville. For years, he’s quietly written massive hits for Country royalty – from George Strait to Jake Owen, Gary Allan to Chris Stapleton – but now has stepped from behind the pen and paper into the studio and spotlight. The result is Solid Gold Sounds – a stellar album that weaves a rich tapestry of deep southern songwriting with the unique gravity and talent Marvel brings as a one-of-a-kind performer.
A band occupying sonic territory entirely their own, BENT KNEE continues to break ground with each successive album, a record maintained with 2019's extraordinary "You Know What They Mean". The Boston outfit's myriad influences are distilled into a deeply moving art-form that defies categorization, merging texture and style into music that's thrilling, addictive, and unapologetically original. Lead singer and keyboardist Courtney Swain's soaring vocals again prove to be instantly arresting whereas guitarist Ben Levin, bassist Jessica Kion, drummer Gavin Wallace-Ailsworth, violinist Chris Baum and sound designer Vince Welch shine with an expert performance that brilliantly fuses a myriad of moods and dynamics. "You Know What They Mean", the fifth full-length by BENT KNEE is a prime example how to unite rock, pop, minimalist, and avant-garde spectrums in a seamless and captivating experience. Available as Limited Edition CD Digipak.
Mandolin legend David Grisman reinvents himself yet again with an exciting new band - Dawg Trio featuring his talented son Sam on bass and Texas born banjo virtuoso, Danny Barnes, recipient of the 2015 Steve Martin Prize for Banjo.