Music Releases 06-29-18
Six-time Grammy-nominee Florence + the Machine to release hugely-anticipated new album ‘High As Hope’ June 29th via Virgin EMI / Republic Records. ‘High As Hope’ is the sound of an artist who appears more certain than ever of herself. Florence writes about her teens and twenties with a renewed, more mature perspective: of growing up in South London, of family, relationships and art itself. The first official single ‘Hunger,’ is out now.
My head feels like it is exploding with the amount of information we are forced to consume on a daily basis, and how that information is so DISTORTED there is almost no longer any tangible truth,” says James. “The name of my new record is UNIFORM DISTORTION because I feel like there is this blanket distortion on society/media and the way we gather our ‘news and important information. More and more of us are feeling lost and looking for new ways out of this distortion and back to the truth…and finding hope in places like the desert where I write this now...finding hope in the land and in the water and in old books offering new ideas and most importantly in each other and love.
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Single LP on black vinyl with printed inner sleeve. Includes coupon for full download
Formed in Brooklyn in 1998, The Essex Green released four albums between 1999 and 2006. They became one of the few bands from the Northeast to be associated with the groundbreaking Elephant 6 Collective. Their unique blend of harmony-infused pop music culminated in the 2006 release of Cannibal Sea.
Sasha Bell, Jeff Baron, and Christopher Ziter were last seen together in the late aughts, waving from their van as they bid farewell to Brooklyn. And then, the unthinkable: The Essex Green went silent. But why? Legal cannabis? Climate change? Bad oysters? Nothing so dramatic. It was a simple promise made among them to chase down their separate dreams: Baron to build a houseboat and navigate the mighty Allegheny, Monongahela, and Ohio Rivers; Ziter to return to his home state of Vermont and lead local fermentation efforts; and Bell to decamp to Montana to study elk rutting.
Having achieved their goals or not, they vowed to break their silence in secret on the frigid waters of Lake Champlain during the blood moon eclipse of 2015 when the effect of the moon in Libra would be most powerful. Over the next two years, the three continued to meet and record in undisclosed locations. The result is Hardly Electronic, a music mapping of the trio’s personal journeys over the past decade.
Following the group’s 1985 formation, Guns N’ Roses injected unbridled attitude into the burgeoning Los Angeles rock scene. They went on to captivate the entire world with the July 21, 1987 release of Appetite For Destruction, which remains the best-selling U.S. debut album ever, moving over 30 million copies globally. Appetite features such indelible tracks such as the No. 1 single “Sweet Child O’ Mine,” “Welcome To The Jungle,” “Nightrain,” and “Paradise City.”
The Appetite For Destruction: Super Deluxe Edition features 4CDs including the album newly remastered for the first time ever; B-sides N’ EPs newly remastered; the previously unreleased 1986 Sound City Session N’ More recordings; a Blu-ray Audio disc with the album, bonus tracks and music videos in brand new 5.1 surround sound along with the unearthed music video for “It’s So Easy” originally shot in 1989 but never finished; and a 96-page hardcover book showcasing unseen photos from Axl Rose’s personal archive and wealth of memorabilia. In addition, the Super Deluxe Edition contains collectables like never-before-seen band lithos, replica concert tickets, a wall poster, temporary band member tattoos , a Robert Williams painting litho, and a replica “Welcome To The Jungle” video shoot invite flyer originally drawn by Slash.
Single LP on black vinyl in single sleeve. Includes coupon for full download
Born in Cabbagetown, Georgia, the Rock*A*Teens carved their signature echo-wrapped, wounded-heart music on the edges of the Atlanta music scene more than 20 years ago. Led by songwriter and lead singer/guitarist Christopher Lopez, the band released a handful of reverb-drenched singles and full-lengths on the independent Daemon and Merge labels in the late ’90s and early 2000s.
Following their reunion at the Merge 25 festival and the reissue of their last LP Sweet Bird of Youth (Merge, 2000), the group returned to touring and playing live. Restless with the need to move forward, the band began writing and recording new music.
Guided by a batch of home recordings and demos, Lopez, guitarist Justin Hughes, bassist William R. Joiner, and drummer Ballard Lesemann convened with Tim Delaney at Electron Gardens Studio and Rafael Pereira at Tribo Studios to shape their ideas into the glorious, bombastic new album Sixth House.
There comes a point in every career of note, when it’s time to dig a trench in the turf; to define exactly who you are in a way that resonates in the broadest possible manner. For Bullet For My Valentine – now two decades deep into their story, one of rock and metal’s foremost names, a genuine success – that time is now.
Produced and mixed by Carl Bown, ‘Gravity’ (the UK band’s sixth studio album, the follow-up to 2015’s ‘Venom’) sees the musicians delivering a body of work that looks set to add extra layers of excitement and meaning both to their own trajectory and to the genre per se. At a time when the international scene feels ready for a serious shot in the arm, ‘Gravity’ is an album of true craft and vision – an ambitious labour of love with the weight and the punch that the band’s extensive, ever-burgeoning fan-base has come to expect, a point made in style by lead single / video ‘Over It’, whilst adding enough in terms of atmosphere, melody and contemporary sheen to spin heads in wider circles.
Backed up by an extensive worldwide touring plan that sees BFMV’s strongest ever line-up playing major shows and festivals for the whole of 2018 (and beyond), ‘Gravity’ already feels like an important album. Simply, this is frontman Matt Tuck and his fellow players thinking big and bold and refusing to compromise or back down.
The title is ‘Gravity’, but the music is set to rise like a rocket. Let the countdown commence…
New Vinyl: $22.99 Buy
The Milk Carton Kids’ fifth album , All the Things That I Did and All the Things That I Didn’t Do arrives from ANTI- Records on June 29. The new project marks the first time that acoustic duo Joey Ryan and Kenneth Pattengale have brought a band into studio with them. “We wanted to do something new,” Pattengale says. “We had been going around the country yet another time to do the duo show, going to the places we’d been before. There arose some sort of need for change.” “Musically we knew we were going to make the record with a big- ger sonic palette,” says Ryan. “It was liberating to know we didn’t have to be able to carry every song with just our two guitars.” “Sometimes in singing, we’ll switch parts for a beat or a bar or a note,” Ryan says. “And things start to obscure what is the melody and what is the supporting part.” A third presence rises out of their combined voices. “There are only so many things you can do alone that al- low you to transcend your sense of self for even a short period,” Pattengale says. “I’m the lucky recipient of a life in which for hundreds of times, day after day, I get to spend an hour that is like speaking a language only two people know and doing it in a space with others who want to hear it.”
Unknown until 2004 and unheard until now, these recordings by the John Coltrane Quartet are, as Sonny Rollins says in the liner notes, “like finding a new room in the Great Pyramid.” With the discovery of the ¼”reference tapes that Coltrane took home with him after the recording session a session that was completely unknown and for which master tapes don’t exist an important chapter in the evolution of Coltrane’s music can now be heard for the first time. Featuring the Classic Quartet John Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones and recorded at the end of a two week run at Birdland, the music on this album represents one of the most influential groups in music history both performing in a musical style it had perfected and reaching in new, exploratory directions that were to affect the trajectory of jazz from that point forward.
The Interrupters are an L.A. based four-piece bound by their rebel spirit and deep love of punk, rock, ska and 2 Tone. They make super high-energy rock -n-roll that’s equal parts catchy and confrontational. Their third album, Fight The Good Fight, was produced by Rancid’s Tim Armstrong and released on his Hellcat imprint for Epitaph Records. The album features front-woman Aimee Interrupter, guitarist Kevin Bivona, bassist Justin Bivone and drummer Jesse Bivona, spitting out lyrics that take on matters as thorny as family, friendship, martial law and loyalty, while churning out bouncing rock-steady rhythms and snarly guitar riffs. The Interrupters have built their live act of unstoppable energy and a feeling of easy community that reflects their familial vibe. They had toured the world with the likes of Green Day and Rancid and played huge festivals from The Vans Warped tour to Coachella. “There is usually a dance party going on in the crowd, which we appreciate since we always have our own dance party happening on stage,” says guitarist Kevin Bivona. The Interrupters will be dancing their way to a town near you this summer on many festivals and tours including The Punk in Drublic Festivals, Back to The Beach Festival and the Main Stage on Vans Warped Tour.
New CD: $34.99 Buy
Seeing The Unseeable brings all four studio albums that the band released on Restless Records between 1984 and 1990: Hear It Is (1986), Oh My Gawd!!!...The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Among the set’s many sonic treasures are: “Godzilla Flick,” “Unconsciously Screaming,” “One Million Billionth Of A Millisecond On A Sunday Morning” and their cover of the classic “(What A) Wonderful World.”
Equals is The Alarm’s first album since 2010. It is a barnstorming collection of 11 songs that act as a retrenchment of old values and a poignant reflection of the tough times Mike and his wife Jules have been through in recent years. Equals was produced by George Williams. Mike and Jules are joined by drummer Smiley (Joe Strummer & The Muscaleros) and guitarist James Stevenson (Gen X, The Cult). Guitarist Billy Duffy (The Cult) is featured on the track, "Coming Backwards." LP is standard weight, black vinyl.
Let's Eat Grandma, one of the most vital bands of our time, follow on the cult success of their debut album I, Gemini with the game-changing I'm All Ears. The British duo, comprised of teenage vocalists, multi-instrumentalists and songwriters Rosa Walton and Jenny Hollingworth, have pole-vaulted expectations and preconceptions delivering something fresh, fun and meaningful. I'm All Ears is alive with furious pop, unapologetic grandeur and intimate ballads. Featuring loops, Logic, outrageous 80s drum solos, as well as production from David Wrench (The xx, Frank Ocean, Caribou), SOPHIE (famed for her own material and work with Madonna, Charli XCX and Vince Staples) and Faris Badwan (The Horrors). I'm All Ears is the most startling, infectious, innovative and thrilling record you'll hear this year.
Fronted by Zahira Gutierrez (vocals/keyboard) and Cody Swann (guitar/vocals), Wild Moccasins’ forthcoming third full-length serves as a new beginning for the group. Look Together tackles themes of repairing relationships, shedding insecurities, and fresh starts, with vibrant guitar and synth lines layered under Gutierrez’s soaring pop melodies. Look Together is highly pop-powered, with Ben H. Allen (Gnarls Barkley, Deerhunter, Animal Collective) at the production helm. Recorded at Atlanta’s Maze studios, Allen encouraged the group to revise their approach to the writing and recording process. The result is a diverse album that blends the signature, guitar-driven elements of Wild Moccasins’ early discography with expansive electronic and '80s/'90s pop components. The impassioned 12-track LP began to form merely a week after the release of 2014’s 88 92, as Gutierrez and Swann’s decade-long romantic relationship dissolved. Healing proved to be a burdensome task, as Wild Moccasins were charted for two years of extensive touring. Gutierrez and Swann would spend countless hours positioned in a shared tour van, painfully staring each other down on stage and ultimately exchanging exaggerated he-said-she-said’s through songwriting. For most romantically intertwined bands, Look Together would have never happened. Dissolving the group would seem to be the logical conclusion of their romantic split, but instead, the former couple chose to reconcile their differences the only way they knew how – working towards a common musical goal.
The continuing story of The Kinks co-founder's journeys through America, as depicted in his 2013 memoir Americana and 2017's album of the same name, 'Our Country: Americana Act II' is a concept album borne from Davies' vision of America - how it shaped him and evolved through the years. Like its predecessor, the album was recorded at the legendary Konk Studios in London with guitarist Bill Shanley and The Jayhawks once again serving as Davies' backing band.
Reissued almost 20 years to the day of the album’s original release date - this first (and only) live album from the Godfathers of Punk comprises a double LP set and features a replica of the rare poster that came with the original 1998 pressing (featuring frontman Mike Ness on stage). The set includes such favorites as “Story of my Life,” “Don’t Drag Me Down,” “Bad Luck,” “Mommy’s Little Monster” and a cover of Johnny Cash’s “Ring of Fire.” Typical of Social Distortion’s reputation, the band performs with a fierce energy onstage and Live at the Roxy captures this intensity.
Ari Roar's Calm draws on 1960's pop and modern DIY heroes for a set of lovingly languid, lo-fi miniatures. Depths of detail and lived experience bustle beneath effortlessly melodic surfaces; sure signs of a writer in confident command of his pitch. For Ari, Calm Down is a milestone in a journey that began in Dallas, Texas, where he started songwriting as a child on his family's ''super-old, out-of-tune piano''. With a tight run-time of 28 minutes and few of its 15 songs breaching the two-minute mark, Calm Down is not an album that overstates its case. ''Called In'' merges the influences of garage-pop and Grandaddy, while the brightly summery ''Windowsill'' and literal shaggy-dog tale ''Lost and Found'' show an easy lightness of narrative touch and mood control.
Je Suis Une Ile (I Am An Island) is the debut album from French multi-instrumentalist Halo Maud. Hailing from the French proggy, psychedelic and experimental pop scene that birthed Melody's Echo Chamber, Moodoïd and cult label La Souterraine, her ethereal songs flit between the English and French language. She focuses on notions of freedom and power as seen through a wild and playful lens. Every one of her influences can be felt in her songs. Her father was a reverend, and lead single ''Baptism'' was inspired by Maud's own baptism at age twelve. The second half of the album looks back on the first through a distorted mirror, filled with loops, percussion and keys that are always about to slip from mischief to malevolence.
At 80 years old, NEA Jazz Master Charles Lloyd remains an intrepid musical pioneer, entering his ninth decade at a creative peak in what now stands as a mountainous and formidable career. With his newest band The Marvels—a guitar-driven group featuring Bill Frisell, Greg Leisz, Reuben Rogers, and Eric Harland—Lloyd released the 2016 album I Long To See You which NPR called “music that evokes an uncommon state of grace.” Now on Vanished Gardens, The Marvels add a new dimension by collaborating with revered singer-songwriter Lucinda Williams to pioneer a new genre of Americana Jazz that draws on the musicians many influences and experiences with reimagined versions of Williams favorites, new Lloyd originals, and covers of Jimi Hendrix, Thelonious Monk, and more.
Brian Fennell is a student of simplicity. As SYML (pronounced “simmel”), which translates to “simple” in Welsh, Fennell writes emotive ambient pop songs that capture the ethos of his musical persona. With delicate piano, swells of strings and Fennell’s sterling vocals, the songs that comprise “In My Body,” embody the relinquishing of all emotions, a cathartic release laid bare.
New Vinyl: $114.99 Buy
This premium boxed set includes all three albums released by the band in their three years together between 1966-1968. The music is newly remastered from the original analog tapes, all under the auspices of Neil Young.
Sarajevo in 1994 was a city under siege. Mortars and grenades rained down on the city, killing indiscriminately every day. Amongst the madness, would it be possible to persuade a global rock star to come and play a show for local fans? Scream for Me Sarajevo is the soundtrack to the amazing and astonishing documentary film story of the most unlikely of rock concerts, performed by Bruce Dickinson and his band Skunkworks in 1994, in the midst of the Siege of Sarajevo. This is a film about extraordinary people defying the horrors of war, and the musicians who risked their lives to play a show for them. Featuring footage from the historic gig, the film also meets those that made it to the show and made the show happen; determined to keep living their lives despite the atrocities going on around them. Interviews with the band, crew and security bring home the reality of the situation that was not only dangerous, it was barbaric. “We weren’t protected, there was no plan and the bullets were real, but fuck it, we went anyway” said Bruce in his recent best-selling autobiography What Does This Button Do?, “The gig was immense, intense and probably the biggest show in the world at that moment for the audience and for us. That the world didn’t really know didn’t matter. It changed the way I viewed life, death and other human beings”.
The world of Shylmagoghnar is one that thrives on opposites: raw soundscapes meet pure elegy, and destruction gives way to harmony. The band has perfected a unique sound of their own that made listeners hold their breath in awe starting with their exceptional debut Emergence in 2014. Atmospheric black metal and harsh vocals burst into progressive guitar melodies deeply rooted in melodic death metal creating a rather melancholic and yet playful set-up indulging in themes of our existence in all its monumental beauty and horrible chasms. The Dutch duo turned Transcience into a multi-faceted and mature genre highlight that manages to make tristesse glimmer in strange colors!
CHICAGO II: LIVE ON SOUNDSTAGE underscores the enduring popularity of Chicago's second album with an energized performance of the entire double-album in front of a live audience.
The Wild Feathers will return with Greetings From the Neon Frontier, which finds the band embracing their more countrified influences, while retaining the heavy harmonies, gritty guitar playing, and smart, tight songwriting that brought them to prominence. The upcoming album reunites The Wild Feathers with award-winning producer Jay Joyce, who oversaw the group's 2013 self-titled debut and 2016's Lonely Is a Lifetime.
Platinum rock driven soundtrack album from the 1992 Motion Picture "Wayne's World". Album was originally released on CD 2/18/92 and is now on black vinyl for the first time in a 2 LP set. This album includes Queen - "Bohemian Rhapsody", Black Sabbath - ‘Time Machine" and of course the Wayne & Garth's famous "Wayne's World" Theme. Party on!!
With over thirty releases under their name, Self Defense Family continues to become increasingly more like an actual extended family. The band maintains its revolving-door policy of members, with a consistent group of players at its core and a larger collection of musicians filtering in and out based on availability and need. This collective-like format allows for the band’s productive output to go on unhindered and seemingly without end. As the group expands and shifts, with its individual personas diverging as well, the Family acts as a constant for its members, a place to return to and work towards a collective musical effort. Their latest full-length, Have You Considered Punk Music, finds the group at their decidedly most self-reflective, taking on popular mythologies and personal narratives from a lifetime in music as the album’s overarching themes. For this release, the band gathered in a Brooklyn studio over the course of a week, working together with engineer Taylor Young, perhaps best known for his work with metal bands. Following their usual process-based mode of writing and recording almost simultaneously, the resulting LP features an array of songs that feel tightly composed while maintaining the loose, spirited air of improvisational music. With ten songs that reflect the diverse musical interests of its members and their mutual affinity for repetitive post-punk, psychedelic rock, and various film scores, Have You Considered Punk Music documents a band further refining their own particular invention.
It started out as a united vision in 2006, shared between the band’s founding members, Björn Strid (vocals) and David Andersson (guitar), somewhere on one of those endless American highways in the middle of a SOILWORK tour. The original idea was to create a soundtrack for their own journey, something that you could listen to when everyone else was sick of listening to “Detroit Rock City”, “Goodbye Girl” and “Born To Run”. With the mission identified, the guys set out to handpick the perfect musicians to share and fulfill that same vision. Sharlee D’Angelo (bass, ARCH ENEMY, SPIRITUAL BEGGARS and many others), Richard Larsson (keys), Jonas Källsbäck (drums) and Sebastian Forslund (guitar, percussion) would soon fill out the lime-up. And as fate would have it, the first time they all got in a room together and started playing, the magic was instantaneous. The band released their first two albums, “Internal Affairs” and “Skyline Whispers”, which both were critically acclaimed and built them a reputation in certain circles. The band managed to take things next level when they signed to Nuclear Blast and released “Amber Galactic”, an album awarded Album of the Month in several European rock magazines, as well as securing the band a Swedish Grammy nomination, which then culminated in an euphoric European tour in the fall/winter of 2017. This year, they’re back with their new album, “Sometimes The World Ain’t Enough”, taking the band even further. This album has all the catchy tunes, the musical artistry, and the inimitable Swedish melancholy - everything’s still slightly over the top and there’s even more for you to love.
Late Bloomer's third full length, 'Waiting,' is an achingly human record that explores the crushing uncertainty of adulthood through a mix of hook-driven guitar rock and punk urgency. The band teamed with producer/engineer Justin Pizzoferreto (Dinosaur Jr, Pixies, Speedy Ortiz, Parquet Courts). The result effortlessly blends each members’ seemingly disparate influences from roaring to tender—often within the same track. The fuzzy familiarity of college rock effortlessly collides with the intensity of punk and hardcore, all serving to propel the band’s biggest choruses to date.
Colored Standard Weight Vinyl
Includes DL Card
Corduroy arrived on the Acid Jazz scene in early 1992. Self-styled as the Fabric Four, they cut a striking presence with their soundtrack for the beatific generation. Their first new album in 18 years, aptly titled Return Of The Fabric Four, takes the group back to their Acid Jazz source with 12 tracks that score that archetypal 60's spy film filled with split screens and montages, car chases and secret agents. Interspersed with jazz passages, mood mosaics and a samba, it reminds us just how much Corduroy were ahead of the curve. Like all the best [imaginary] soundtracks, Return Of The Fabric Four mixes nostalgia with originality in equal parts. Vast in aspiration and musical scope, this is no genre exercise: the joy, passion and commitment in its delivery is palpable.
For fans, The Innocence Mission are beyond a favorite band, more like a beloved companion, such is the intensity and fragility of their sound and vision. Spearheaded by Karen Peris' heartbreaking and breathtaking voice, with husband, the guitarist Don Peres and upright bassist Mike Bitts, they have spent ten records speaking to our collective memory and awe at life's mysteries. Their dreamy, orchestral songs are full of sensory imagery and deeply felt instrumentation, and it's their unique way of trying to approach universal joys and sorrows that allows the trio to achieve the emotional connection with their fanbase, which includes Sufjan Stevens and Sam Beam (Iron & Wine), who have both covered innocence mission songs.