PREORDER UPCOMING RELEASES

2020 was not quite what Jay Farrar was expecting for the 25th anniversary of Son Volt, the band he started in 1995 after leaving the seminal group Uncle Tupelo, whose No Depression album helped define the alt-country and Americana genre. The group had just finished an Outlaw Country Cruise when the pandemic hit and sent them into their homes on lockdown.

Instead of a triumphant tour marking the illustrious landmark, Farrar was forced indoors by the pandemic, and his “Reverie” during that time helped define Electro Melodier, Son Volt’s 10th studio album – and third for influential Nashville indie Thirty Tigers. The title, taken from the names of two vintage amplifiers from the late ‘40s and early ‘50s, also describes the disc’s unique blend of folk, country, blues, soul and rock – an electric troubadour with melodies that hit and stick. Social protest songs like “Living in the U.S.A.” and “The Globe,” the former about the promises of this nation gone wrong, the latter referencing the street protests accompanying the Black Lives Matter movement, exist side by side with odes to long-term relationships (specifically his 25-year marriage) in “Diamonds and Cigarettes” and “Lucky Ones.”

Once again accompanied by the current Son Volt line up – keyboardist/steel guitarist Mark Spencer, bassist Andrew Duplantis, guitarist Chris Frame and drummer Mark Patterson – Farrar takes a slight turn from 2019’s politically pointed Union to a series of songs that asks questions rather than demanding answers – think of “Living in the U.S.A.” as Farrar’s version of Bruce Springsteen’s “Born in the U.S.A.,” Neil Young’s “Rockin’ in the Free World” or Patti Smith’s “People Have the Power,” an anthem to unite the populace.

One listen to Electro Melodier, which opens with “Reverie,” describing Farrar’s contemplative state gazing out his window, enlivened with Mark Spencer’s “Wichita Lineman” guitar riffs and the lush Big Star melodies, and you wonder why no other rock ‘n’ roll bands or singer/songwriters are making albums like this about what we’re all going through.

With tour dates scheduled before the end of 2021, Son Volt is ready to return to what they know best after a welcome period of introspection.

The songs of Electro Melodier help remind us to be thankful of what we still have – new music from Jay Farrar and Son Volt. 

This LP finally brings a Clipping fan-favorite, 2016’s Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that’s exclusive to the vinyl format.

The original, digital-only Wriggle EP was six tracks that weren’t finished in time to make it onto the group’s 2014 Sub Pop debut, CLPPNG. For “Shooter,” Clipping recorded themselves firing fifteen dierent guns, the sounds of which exclusively constituted the beat’s drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of “hashtag rap,” but instead of using it to boast about the rapper’s personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group’s music, “Shooter” was an attempt to reframe a familiar style and test the limits of its formal capabilities. “Hot Fuck No Love” contains what might be the most explicit verse to date from Clipping’s favorite New Jersey rapper Cakes Da Killa. The EP’s title track, “Wriggle,” was built around a sample of the influential power-electronics song “Wriggle Like a Fucking Eel” by Whitehouse, transforming William Bennett’s torturous imperative into a instructional dance-floor banger. “Wriggle” and “Shooter” have become classic Clipping tracks and staples of their live show.

With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs’ thriving acting career - get the vinyl version of Wriggle they’ve been clamoring for.

Sleater-Kinney's 10th studio album was recorded in Portland, Oregon during the summer of 2020 ' against a backdrop of social unrest, devastating wildfires, and a raging pandemic. It's music for an imagined togetherness. This marks the first Sleater-Kinney album produced by the band members themselves.

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.

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.

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

White Opaque Vinyl

Moby’s eclectic career has cast him in the roles of electronic dance music pioneer, singer and songwriter, producer, activist, and restaurateur, but for his latest venture he presents his music in a whole new light.

Together with Deutsche Grammophon, he is releasing an album of his best known tracks in stunning new arrangements for classical instruments – featuring Moby himself and a stellar lineup of collaborators from across the musical spectrum.

Always a daring and imaginative thinker, Moby’s first classical collaboration happened in October 2018, when he performed a selection of his songs alongside the LA Phil and conductor and friend Gustavo Dudamel. This was the inspiration for the current project, which features not only full orchestral versions but new electronic arrangements, as well as sophisticated smaller-scale acoustic interpretations.

The 14-track album includes classic Moby songs like “Porcelain”, “Why Does My Heart”, and “Extreme Ways” in innovative new versions, featuring eye-catching collaborations including both Jim James (My Morning Jacket) and Víkingur Ólafsson on “Porcelain”; Gregory Porter and Amythyst Kiah on “Natural Blues”; and Kris Kristofferson as well as original vocalist Mark Lanegan on “The Lonely Night”. The album concludes with a cover of David Bowie’s “Heroes”.

Throughout their career, Blackberry Smoke has embodied Georgia’s rich musical legacy, honoring the people, places and sounds of their home state. As the band celebrates their 20th anniversary this year, their reverence for Georgia has only deepened.

On their latest album, You Hear Georgia, the follow-up to 2018’s critically acclaimed Find a Light, Blackberry Smoke is further celebrating these roots with 10 new songs that feel like Georgia, accented by the addition of Grammy-winning producer and fellow Georgia-native, Dave Cobb (Jason Isbell, Brandi Carlile). “Dave and I had spoken for the last few years about making a record,” Starr says. “Finally, it worked out, our schedule and his schedule, and we said, yes—let’s make a record.”

Blackberry Smoke worked quickly, spending just 10 days at Nashville’s famed RCA Studio A, Cobb’s home base since 2016. The band recorded live on the floor, giving You Hear Georgia a crisp, outgoing feel. Like other Blackberry Smoke efforts, this album leans into well-crafted Southern rock driven by jagged guitar riffs and rich instrumentation, as the band layers on rollicking piano (“Live It Down”), funky grooves (“Hey Delilah”), and introspective acoustic sounds (the stripped-down, folk-leaning “Old Enough to Know”).

The title song, “You Hear Georgia” features a narrator who’s underestimated because of outward appearances and misguided stereotypes, which is a theme of Starr’s lyrics this time around, particularly as it relates to the band’s Southern roots. “Lyrically, the song is about the South being misunderstood. It’s obviously a rough and tumble world, and there’s a lot of bad people. But there’s a lot of good people too. It started with the idea of how people might have a preconceived opinion of you because of a thick Southern accent, then expanded into the reality of how some people just seem to have such a hard time getting along, thanks to political or religious views, or simply what part of the country you come from.”

Many of You Hear Georgia’s songs describe characters that are restless and prone to seeking out a change of scenery, in hopes of finding a place where they belong. Against cinematic backdrops with vivid details, it’s easy to empathize with these protagonists as they share pearls of wisdom (“Don’t ever trust a grown man with a nickname”) and exhibit deep self-awareness (“Anywhere’s better than staying here, with the ghosts running thru his mind”) along the way.

You Hear Georgia reinforces that the band members have come so far together because they also can rely on one another for support and creative direction, no matter what the circumstances.

'Nurture' is an album about hope, overcoming despair, faithfully pursuing a sense of purpose, and trying to prove that it's worthwhile to try. This album came about during a period of intense creative and emotional struggle. I had structured my life around the expectation that the only thing that made me happy was writing music. But it was exactly that obsession and imbalance that made writing music an impossibility for me for years. I wanted it too much, was highly self-critical, and I was so scared that I wouldn't ever be able to write music again. And the more desperate I became to write music, the harder it became. Only by accepting that I might never be able to do it again, and by embracing and trying to find happiness in aspects of life outside of music, was I able to slowly claw my way into being able to do it again. And on the other side of all this fear and anxiety, I found this life-giving sort of light and beauty. I felt a gratitude towards real life that I used to only feel towards fiction. I'm really, deeply glad that I wrote this album. It's my favorite music I've ever made, and it made me feel purposeful and happy to write music again. I want to write music that tells people that an earnest and sincere effort to overcome that thing you're struggling with is the best path forward. There's no shortage of fuel for despair and nihilism, but I've found that those things don't help. I want the listener to know that even when it seems impossible and insurmountable, it's worthwhile to do your best, that there's no shame in hope, and that purpose and meaning are worth pursuing.

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. 

8CD Book set with bonus 12 inch single. United Souls, in conjunction with Sony Legacy Recordings, is delighted to celebrate the 50th anniversary of Philadelphia International Records with the eagerly anticipated release of Get On Board The Soul Train - The Sound Of Philadelphia International Records Volume 1. This is the first volume in a limited edition series which covers the first eight studio albums released by the label from 1971-1973. The series, in which all album are re-mastered from the original tapes, will map the history of Philadelphia International Records chronologically. Housed in a stylish 48 page slipcased book, the edition is strictly limited to 2500 copies. It also includes a numbered certificate of authenticity, an exclusive 12" single and a unique poster. The detailed 48 page hard cover book, including rare photographs was compiled and curated in association with PIR artists, engineers and producers, with liner notes by Tony Cummings (Author of The Sound of Philadelphia) and a foreword by Ralph Tee. The eight classic albums included in Volume 1 comprise: Billy Paul - Going East/Harold Melvin & The Blue Notes - I Miss You/The O'Jays - Back Stabbers/Billy Paul - 360 Degrees of Billy Paul/Dick Jensen - Dick Jensen/The Intruders - Save the Children/MFSB - MFSB/Billy Paul - Ebony Woman. Exclusive 12"- The O'Jays - Back Stabbers / MFSB - Back Stabbers

In celebration of Pride Month, Nonesuch Records releases k.d. lang’s makeover, a new collection of classic dance remixes of some of her best-loved songs on May 28, 2021. The album brings these remixes, made between 1992 and 2000, together for the first time, and includes “Sexuality,” “Miss Chatelaine,” “Theme from the Valley of the Dolls,” “Summerfling,” and the #1 dance chart hits “Lifted By Love” and “If I Were You.” makeover’s cover art features a previously unseen 1995 portrait of lang by David LaChapelle. The album is available on transparent turquoise vinyl.

'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.'

On June 15th 2014, Jason Isbell reunited onstage with former Drive By Truckers bandmates Patterson Hood and Mike Cooley for a special round-style night in Muscle Shoals Music. The setlist includes acoustic versions of Isbell-era Truckers gems including “Heathens,” “Decoration Day” and “Zip City” as well as post-Isbell Truckers tracks like “Space City” and solo Isbell faves such as “Cover Me Up.” The set opens and closes with a pair of classic Hood-sung numbers, 2004′s “Tornadoes” and 2001′s “Let There Be Rock.”  

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.

Nowhere Generation’s unabashedly outspoken 11 songs explore the tight bonds and the distances we share, the struggles of everyday life, our personal failings and triumphs, as well as how the social and economic decks can be stacked against us. But Nowhere Generation also hints at the reclamation of ourselves, a call to resurrect who we are at our core, who we want to be and what we want to do with our lives, despite the rampant weaponizing of our culture. As lyricist Tim McIlrath wrote on “The Numbers”:  …these cold nights are almost unbearable, but purpose keeps us warm.

Nowhere Generation was recorded at The Blasting Room in Fort Collins, Colorado under the tutelage of Jason Livermore, Andrew Berlin, Chris Beeble and long-time producer/engineer Bill Stevenson (Black Flag, The Descendents) who has worked with the band on nearly all of their acclaimed releases since their sophomore effort, 2003’s Revolutions Per Minute, and is often described as Rise Against’s fifth member.

Poté (Sylvern Mathurin) is St. Lucian-born, London-bred and Paris based, electronic artist, due to release his forthcoming album “A Tenacious Tale Of Her” on Bonobo’s label OUTLIER this summer.

With an impressive, unique sound, his new album is written as a theatrical play, a theme which also leans into the creative direction behind his record. The first single ‘Young Lies’, features musician and singer, songwriter, Damon Albarn of Blur and Gorillaz.

Poté has formally created remixes for the likes of Gorillaz’ ‘Trans’ and Little Dragon’s ‘Hold On’. His previous releases include debut digital album “Spiral, My Love” released in 2018 on Benji B’'s Deviation Music imprint followed by “Waters of Praslin” EP in 2019. This year he put out EP “Rose” in January along with latest single ‘Pearls’ in August on his own label Versicolor.

Playing live, he has supported Bonobo on tour in Europe as well as singer and drummer Georgia for six dates in the UK.

Poté has seen support across many different outlets from Clash album review (8/10), Clash Track of The Day, Mixmag album review (print edition), Mixmag All Points East streamed solo live show from in London, Mixmag The Lab LDN, DJ Mag mix, XLR8R, Dummy single premiere, Beat Culture and more.

With over 5,000 performances spanning four decades, 20 million records sold worldwide, and inducted into the Rock and Roll Hall of Fame, CHEAP TRICK is undoubtedly one of the most influential classic rock groups of the past 50 years. The band was formed in 1974 and while it has evolved throughout the years, CHEAP TRICK has continued to reach mainstream and critical success. Hits such as “I Want You To Want Me,” “Dream Police,” and “Surrender” have cemented the group as one of America’s top rock ‘n’ roll bands of all time. 

"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."

On Crystal Clear color vinyl. Changephobia is the 2nd full-length solo record from Grammy Award-winning songwriter, producer, and composer Rostam Batmanglij. An adventurous new direction for Rostam, the songs collected on Changephobia are deeply personal, yet universal for anyone who has ever experienced doubt. In addition to being a founding member of the seminal New York Indie Rock Band, Vampire Weekend, Rostam has been described as "one of the great pop and indie-rock producers of his generation." Rostam has produced & co-written critically heralded recent albums by Clairo and Haim, as well as singles from Maggie Rogers, Solange, Charli XCX, Frank Ocean, Santigold and others

Liz Phair brashly but effortlessly drops lyrical nuggets into her melody-driven, lo-fi songs. It makes for a devastating back catalogue; from the peerless Exile In Guyville to Whip-Smart, Whitechocolatespaceegg to the self-titled Liz Phair, each of her records acts as another timely klaxon call for a generation not prepared to sit back nor shut up. It's a career that's heralded her Grammy Award nominations, a spot on Rolling Stone's albums of all-time list, and decades of critical acclaim that has inspired and influenced some of the brightest new faces of yesterday and today, veering from cult icon to mainstream concern. Over a decade since her last record was released, Liz Phair now returns with another bagful of fireworks already fizzing to be let off in the shape of new album Soberish. Liz maintains the sass that propelled her to become such a critical darling, and that innate ear for melody and razor sharp way with words." Hey Lou" is the record's opening gambit, a mischievous ode to Lou Reed and Laurie Anderson, and Liz's jaunty lament back into our ears. Welcome back Miss Phair, we've missed you.

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.”

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.

The audio + video release of Mr. Bungle's 2020 livestream event, The Night They Came Home. Includes performances of songs from their album, The Raging Wrath Of The Easter Bunny Demo, along with cover songs, official music videos, behind-the-scenes bonus features and celebrity guest cameos. This version of Mr. Bungle is original members Mike Patton, Trey Spruance and Trevor Dunn, joined by Scott Ian of Anthrax and Dave Lombardo of Slayer/Dead Cross.

Considered to be one of the best live albums of all time, Bob Seger & The Silver Bullet Band’s ‘Live’ Bullet was captured at Cobo Hall, Detroit, MI, in September 1975. The album was released April 12, 1976, and helped to supercharge Bob Seger’s career. To mark the 45th anniversary, the album has been remastered and will be released in its original 2LP format in both black and color vinyl.

A striking gatefold neon green vinyl.

Garbage return with their seventh studio album ‘No Gods No Masters’, to be released 11th June 2021

“This is our seventh record, the significant numerology of which affected the DNA of its content.

The seven virtues

The seven sorrows

and the seven deadly sins.

It was our way of trying to make sense of the craziness of the world and the astounding chaos we found ourselves in.”

Shirley Manson

A reinterpretation of 2020’s hugely successful and critically acclaimed LP Roisin Machine by producer Crooked Man aka DJ Parrot.
If Roisin Machine was the big night out… this is the afterparty where things get darker & more twisted.
Like the original LP it is segued as a continuous listening experience.

He likes a ‘version’ does our Parrot.

When Roisin Machine was in the making you would often have 3 or 4 versions of a track suddenly drop into your inbox. All different, all brilliant… so the idea of Parrot doing his own version of the LP was always on the cards.  Inspired by albums such as the 1985 LP Padlock, Imagination’s Night Dubbing and Love & Dancing by The Human League, the Crooked Man has delivered something quite extraordinary. “Parrot doesn’t try to be ‘cool’, I reckon that’s the last thing on his mind. He makes music with a real sense of responsibility to the craft. He just cannot make rubbish music, he’d be too ashamed. So everything he is and everything he has learned, is put into everything he does. I think Crooked Machine is one of his greatest achievements so far. I left him and Fat Dave to their own devices on this and they have outdone themselves! I absolutely love it!! I think I prefer it to the original album, slightly less me and all the more ‘cool’ for it! “

Roisin Murphy.

Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018.

During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society.

“Take It From The Dead” features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound.

Indigo De Souza’s I Love My Mom, her debut LP initially released in 2018, is a collection of the best songs she’d written in the few years that preceded it, recorded quickly and breathlessly and thrown out into the world. Consisting of ten songs, the album feels both raw and unabashed. Indigo pulled a band together for the first time, and was quickly encouraged to commit her songs to tape. Recorded at her friend’s house, they played almost everything live in just a few days, and released the record naturally, with little fanfare. That the record quickly took on a life of its own, deeply resonating with those who heard it, is a testament to Indigo’s songwriting. On June 11th, I Love My Mom gets the full release it deserves - pressed to vinyl for the first time, ahead of a brand new LP a little further down the road.

The term “Front Porch Singin’” may actually be a metaphor for many creative and conceptual musical ideas. But, for us, this title has become more of an attitude than anything else. What if the four of us were sitting on a porch together and someone begins to sing a favorite old Gospel song, like “Swing Down Chariot,” or a country and Western standard like “Red River Valley,” and everyone else just joined in? That is what happened at RCA Studio A. But, as usual under producer Dave Cobb’s leadership, this album turned into so much more. The Front Porch Singin’ attitude remained prevalent throughout, as songwriters, musicians, Dave and all four of us kept coming to the table with terrific creative ideas to enhance our Front Porch experience.

This project is quite honestly one of the most heartfelt albums we have ever recorded. Perhaps it is because we recorded these songs in the middle of a raging pandemic that changed the face of America and obviously took a huge toll on those of us in the music business. It was a bit strange to social-distance from each other in the studio, but we believe it drew us all closer and, in doing so, we may have inadvertently recorded the perfect project for this time period. These songs, whether new or old, reflect a certain optimism and a deep-seated faith that God will work all of this out as we move forward. “Life is beautiful,” as one song says. We must embrace it and celebrate it with all of our being.

Join us on The Front Porch and, if it is God’s will… Let’s keep on SINGIN’.

—The Oak Ridge Boys

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.”

Deluxe/Limited/Special Edition Details: The creator of "Hamilton" and the director of "Crazy Rich Asians" invite you to a cinematic event, where the streets are made of music and little dreams become big... "In the Heights." Lights up on Washington Heights... The scent of a cafecito caliente hangs in the air just outside of the 181st Street subway stop, where a kaleidoscope of dreams rallies this vibrant and tight-knit community. At the intersection of it all is the likeable, magnetic bodega owner Usnavi (Anthony Ramos), who saves every penny from his daily grind as he hopes, imagines and sings about a better life. "In the Heights" fuses Lin-Manuel Miranda's kinetic music and lyrics with director Jon M. Chu's lively and authentic eye for storytelling to capture a world very much of it's place, but universal in it's experience ViNYL

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.