Music Releases 01-31-20
Music to Be Murdered By is Eminem's eleventh studio album. The album was produced by Eminem and Dr. Dre, amongst other producers, and features collaborations with Black Thought, Q-Tip, Juice Wrld, Ed Sheeran, Young M.A, Skylar Grey, Don Toliver, Anderson .Paak, Royce da 5'9", Kxng Crooked and Joell Ortiz among others.
William Patrick Corgan (aka, Billy Corgan of rock legends The Smashing Pumpkins) releases his second solo album. The 17-track album that Billy described as a "labor of love" leans heavily towards Americana, eschewing the fuzzy guitars and letting the songs speak for themselves. 2 LP set in clear with black marble.
Vinyl LP pressing. 2020 release. "Letting go can be a scary prospect," says Son Little. "But there's beauty in it, too. Everything you leave behind opens up space for something new in your life." That was certainly the case with his album, Aloha, his third studio album. Recorded at Paris's iconic Studio Ferber, the entire project was an exercise in letting go, in ceding control, in surrendering to fate. While Son Little (the stage name of songwriter, producer, and multi-instrumentalist Aaron Livingston) still plays nearly every instrument on the album himself, he put his songs in the hands of an outside producer for the first time here, collaborating with French studio wizard Renaud Letang (Feist, Manu Chao) to create his boldest, most self-assured statement yet. Equal parts vintage and modern, the collection blends classic soul, old-school R&B, and adventurous indie sensibilities into a timeless swirl fueled by gritty instrumental virtuosity and raw, raspy vocals. It's an ambitious work of vision and reflection, to be sure, but more than that, it's an ecstatic testament to the freedom that comes from torching the map and trusting the currents of life to carry you where you belong.
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An eclectic remix package of St. Vincent's Grammy award winning album MASSEDUCTION, curated by Nina Kraviz. From frantic IDM and manic footwork to glistening house and meditative dubstep (via just about everything in between) her selections build an inspired portfolio from an abundance of talent. At times fragmented, at others familiar, it takes the spirit of MASSEDUCTION and runs with it in every way possible.
Multi-platinum pop singer, songwriter and sought-after hitmaker, Mike Posner has become one of the world’s most recognizable voices. The RIAA 4x-platinum smash “I Took A Pill In Ibiza”—which has over 3 billion streams, made history as “one of Spotify’s Top 10 Most Streamed Songs of All Time,” and earned him a Grammy® nomination. In 2019, Posner went on a walk across America, covering 2,851 miles from coast to coast. The trek inspired his album, Keep Going, available on CD January 31st.
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When Poliça's Channy Leaneagh fell off her roof while clearing ice in early 2018, she smashed her L1 vertebrae and battered her spine, leaving her in a brace with limited mobility for months. Yet Poliça's fourth album, When We Stay Alive, is not about one debilitating accident. It's about the redemptive power of rewriting your story in order to heal, and reclaiming your identity as a result. When We Stay Alive possesses a new confidence in its sound, reflected in its fierce, determined songs and anchored by the heavy synths and punctuating beats of Poliça co-founder and producer Ryan Olson. Over the last several years Olson and Leaneagh have widely collaborated with musicians from all over the world: both with Bon Iver, and Leaneagh individually with Boys Noize, Lane 8, Sasha, Leftfield, and Daniel Wohl; Olson with Swamp Dogg in addition to countless musicians from the Aaron Dessner and Justin Vernon's 37d03d collective. As a result, When We Stay Alive features one of the largest musical casts of any Poliça record to date. To create the album, Olson brought his favorite collaborators into his studio for all-night sessions. He'd then send Leaneagh the files to write lyrics to while recovering at home, which she'd record alone or with engineer Alex Proctor. Drummers Drew Christopherson and Ben Ivascu colored the songs with a new approach ' drastically changing the rhythmic dynamic from previous efforts by creating an indistinguishable hybrid of live and electronic instrumentation--and bassist Chris Bierden provided a melody-laden low-end as well as more layered backing vocals than ever before. On Poliça's first three albums, Leaneagh focused on restructuring the world and her relationships within it. On When We Stay Alive, she realizes the power in restructuring her inner self. The album's title references the idea of moving forward through life ' our experiences, both good and bad ' and what happens next with the strength we find. 'I had been living unconsciously in past trauma,' Leaneagh says. 'I don't want to deny something happened ' this is not about repression ' it's about taking the power back from the past, holding the power in the present, and creating a new story for myself.'
High Road is the new album from the modern pop icon Kesha, and the follow up to her 2017 GRAMMY-nominated album Rainbow.
High Road finds Kesha on a joyful musical journey of self-discovery. The album is filled with emotional and stylistic range, and is a blend of heavenly highs and emotional depths. Kesha’s swagger is front and center, with frisky, rap-based tracks that show-off her skills as a lyrical spitfire, and also a folkier side that emerges. With a dream-pop ode to a best friendship, a reflective ballad about growing up without a father, and plenty of lust and laughter, High Road traverses the emotional spectrum.
For High Road, Kesha enlisted an eclectic roster of collaborators/songwriters/producers including John Hill, Dan Reynolds, Stuart Crichton, Jeff Bhasker, Drew Pearson, Brian Wilson, Sturgill Simpson, Nate Ruess, Justin Tranter, Stint, Wrabel, and Pebe Sebert, among others.
Kesha has sold more than 14 million total album equivalents worldwide, and has had 9 Top 10 hits on The Billboard Hot 100, including four #1 singles at Top 40 Radio.
Drive-By Truckers is kicking off the new election year with The Unraveling, their first new album in 3 1/2 years (the longest space between a new DBT albums ever). Those years were among the most tumultuous our country has ever seen and the duality between the generally positive state of affairs within the band and the turbulent world outside (or as Patterson Hood puts it: "watching so many things we care about be decimated and destroyed”) informed the writing of this album to the core.
At 16, Joey Alexander has already recorded two GRAMMY-nominated studio albums, as well as a critically acclaimed surprise release from late 2017 to honor Thelonious Monk's centennial. With his third studio effort Eclipse, Joey took another giant step forward, demonstrating his aptitude as a composer, bandleader, and musician, hinting at the many artistic paths open to him in the decades ahead. Joey has made appearances on 60 Minutes, The Today Show, and NPR's Tiny Desk series.
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Written for his fans and inspired by his idols, Walls marks the debut solo album from Louis Tomlinson. Inspired by the records he listened to in his bedroom as a kid and channeling the spirit of the brit pop era of the 90s Louis Tomlinson bares all with this incredibly honest and personal record. Featuring the likes of "Two Of Us," "We Made It," "Kill My Mind" among others the album marks a change of direction for Louis' music, and one he is happy and proud to present to the world.
Dashboard Confessional's first-ever career-spanning compilation, The Best Ones Of The Best Ones, is a thoughtfully curated collection of the band's most beloved songs and features selections from all seven studio albums, the So Impossible and The Drowning EPs, and the band's legendary, Platinum-certified MTV Unplugged performance. From start to finish, The Best Ones Of The Best Ones showcases the profound durability of Dashboard Confessional's music over the past two decades. The collection highlights singer/songwriter Chris Carrabba's extraordinary ability to give a cathartic voice to the messiest of emotions, which led the band to ascend from a bedroom project to a global sensation.
After a 5 year hiatus that has seen him delve into a range of diverse musical projects, Squarepusher will return with new album, Be Up A Hello. After exciting fans with his hour long mix of brain-melting breakbeat and jungle for Warp's 30th anniversary NTS takeover in June, expectation has been bubbling away for official new material. The album sees Tom Jenkinson getting back to using analogue hardware, the same equipment that first helped him develop his sound in the early '90's to craft nine new pieces which chart a journey into harder and darker territory. From rinsing breakbeat tracks such as Nervelevers and Terminal Slam to darker moments such as Vortrack and Mekrev Bass, the album illustrates Tom's continuing fascination with finely balanced psychological overload. As such, 'Be Up A Hello' gives a nod to the mayhem, joyousness and abandon of the DIY Essex rave scene that was a strong determinant in Tom's work.
'We should try again to talk,' Frances Quinlan writes. It not just a lyric'it's a suggestion, a warning, a plea, a wish. This request is woven throughout Likewise, her forthcoming solo album, amidst dramatically shifting motifs. Some are jubilant, some are dreamy and abstract, and a few are sinister, but within each dark void that Quinlan explores, there is a light peering back at her. Frances Quinlan has built an identity for herself over the past decade as the lead songwriter and front-woman of the Philadelphia-based band Hop Along, and her distinct voice is among the most recognizable and inimitable in music. While the band began as Quinlan's solo project (originally titled Hop Along, Queen Ansleis), Likewise (out January 31st on Saddle Creek) is Quinlan's debut under her own name. To make the record, she enlisted the virtuosic skills of her bandmate Joe Reinhart, and together they produced the album at his studio, The Headroom, recording in stints over the course of a year. With a renewed openness to explore different sounds, Quinlan supplements her typical guitar-based instrumentation with synthesizers, digital beats, harps, strings, and a wide variety of keyboards. The shifting and exploratory nature of these musical arrangements allow her lyrics and vocals'which have always been at the forefront of her music'to reach emotional depths like never before. Her vocal tones beckon a kaleidoscopic range of emotions across all nine songs on the album, from soft and ruminative to enraged and commanding; from conveying powerful messages to highlighting small, yet poignant, moments. Quinlan is a voyaging songwriter. Throughout Likewise, she confronts what confounds her in the hopes that she will come out on the other side with a better sense of what it is to be human. She presents listeners with a complicated, albeit spirited vision of what it could mean to truly engage with another person, to give a small piece of oneself over to someone else without expectation. Although such is likely to be a lifelong effort, these songs prove evident that light can still permeate from unsettling depths.
'Is It You, Is It Me', Dustbowl Revival's 5th full length album over a span of 12 years, reveals the band moving in an exciting new direction. Instead of Dixieland jazz and Depression-era folk songs serving as musical mile markers, this new collection mines an energizing vein of soul, funk and roots-infused rock.
A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a "silver tongue." It's apt, then, that Mackenzie Scott-who has spent the 2010s making boundary-pushing pop music under her Torres moniker-has chosen to call her fourth album, and first on Merge, just that. Recorded at O'Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over Torres' last few albums. Even when singing in more subdued tones, Scott's voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday
Vinyl LP pressing. 2020 release from the Los Angeles-based garage/indie rock band. Natural Affair features lyrics centered around social commentary, rhymes, and ruminations on the pleasures and perils of modern love. Led by singer Brooks Nielsen and music director/guitarist Matt Taylor, The Growlers self-produced the album with a backing band comprised of longtime Growlers touring members Brad Bowers on bass and Richard Gowen on drums as well as Circles Around The Sun's Adam MacDougall (keys, synth) and Dan Horne (bass).
Completing a compelling trilogy of albums since his late-flowering return to solo songwriting and singing six years ago, Ben Watt releases his fourth LP, "Storm Damage" and with it a new sound and fervency. Sonically adventurous, lyrically detailed and engaged, the album - written and produced by Watt - is a personal journey through anxiety and change cut through with an insistent defiance. In stores January 31, 2020 via Unmade Road/Caroline.
Single LP on black vinyl in single jacket with 12” x 12” insert. Includes coupon for full download
Dan Bejar initially conceived of Have We Met, his 13th album as Destroyer, as a Y2K album. He was already active during the era but not heard overhead in a cafe or salon, which is perhaps what the idea of the Y2K sound evokes nearly two decades later. Bejar assigned frequent producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Bjork, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.”
The result is not a startling departure from 2017’s new-wavey, Thatcher-era yearning ken, but unlike that more bandoriented approach, the only actual instruments that appear here are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, the two other John Collins-heavy affairs, and to some degree that’s valid. Each contrasts cavernous empty space and synthetic sounds, but rather than whimsical theatrics or sleazy orchestral pop, Have We Met is buoyed by precise, plasticky guitar shredding three-dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date.
Squirrel Flower is the alias 22-year-old Ella Williams adopted for herself when writing songs and poetry as a child. Coming from a professional musical family spanning generations, Williams has always been surrounded by music. By 14 she started writing more seriously and released her first EP of folk music under her own name. After immersing herself in the DIY scene of her Boston hometown before moving to Iowa to study art + gender, women’s, & sexuality studies at Grinnell College, she found a more experimental sound, linking her choral roots, classical harmony and ethereal chord structures, and released her first EP as Squirrel Flower, Early Winter Songs From Middle America. Her second EP, Contact Sports, is a perfectly formed collection of songs about relationships; intimacy, dependency, betrayal and geography, set to the backdrop of the American midwest. The songs represent push and pull of love and intimacy while also being meditations on place. From the fulsome guitar and visceral, cathartic breakdown of lead single "Conditions" to the carefully layered beauty of "Hands Melt," this varied collection frequently impresses with its maturity and craftsmanship. Tracks like the fuzzy, dimly-lit euphoria of "Daylight Savings" are spellbinding in their turn of phrase as Williams sings “I know we’ve gained an hour, but I feel like we’ve lost two.”
Dan Deacon’s most emotionally open record and his most transcendent, Mystic Familiar is the result of obsessive work, play, and self-discovery. The album’s 11 kaleidoscopic tracks of majestic synth-pop expand his sound with unfettered imagination and newfound vulnerability.
By the time drummer Pete La Roca recorded his debut album Basra in 1965 he had already appeared on 9 Blue Note sessions as a sideman and spent time in bands led by Sonny Rollins and John Coltrane. But it was another tenor titan, Joe Henderson, that La Roca brought in as the sole horn voice to front a dynamic quartet that was completed by what liner note writer Ira Gitler called "one of the most attuned rhythm sections in jazz" featuring bassist Steve Swallow and pianist Steve Kuhn.
Rapsody's third studio album, Eve, was released digitally on August 23rd, 2019. The track-list pays homage to influential black women, including Michelle Obama, Oprah Winfrey, Myrlie Evers, and Aaliyah. The album will be released on vinyl on January 31st. Limited edition 2LP pressed on white and black marble vinyl.
Andras' debut album for Beats In Space is Joyful, a long journeyed, myth-making exercise from one of electronic music's most distinct and understated voices. Bridging an unusual connection between 70s acid folk and 90s acid house, Joyful is an invitation to experience music through collective memory and dreaming. Vinyl edition includes high quality digital download.
Riser topped the Billboard Country Albums chart and marked Dierks Bentley's fifth career debut in the top spot. The thunderbird symbolism speaks volumes about the complex ball of emotions locked within. It's a symbol of strength, resilience and renewal - one that appropriately reflected Bentley's first album since the death of his father and the birth of his first son. Produced by Ross Copperman and Arturo Buenahora Jr., it's a project full of sonic power that has a strong sense of family.
In 2009, Randall Bramblett released the critically acclaimed album The Meantime via his Blue Ceiling label. The recording marked a departure for the highly acclaimed multi-instrumentalist who is best known for his contributions on saxophone with Steve Winwood, Traffic, Levon Helm, Sea Level, Widespread Panic and more. The CD was produced by Bramblett, who performs primarily on acoustic piano, organ, and lead vocals. The CD features 12 original tracks, including some of Bramblett’s earliest songs such as “Sacred Harmony,” “Witness For Love,” and “One More Rose” as well as newer, unreleased compositions. Now, 10 years later, New West Records is proud to reissue The Meantime (10th Anniversary Edition) on CD and deluxe edition vinyl. Spread across two discs, the record features the original The Meantime tracklist as well as two unreleased bonus tracks.
LORNA SHORE’s new album, “Immortal”, is nothing short of a shock of blackened, symphonic ambitions and epic intents. It is a milestone for LORNA SHORE, who have built a sizable reputation touring the world alongside the likes of The Black Dahlia Murder, Carnifex and Chelsea Grin. Formed in 2010, LORNA SHORE were quick to surpass “local band” expectations with 2012’s “Bone Kingdom”-EP and it’s follow-up, 2013’s “Malificium”-EP. Through each release, LORNA SHORE continues to prove themselves to be an increasingly formidable force and a ferocious live proposition. 2017’s sophomore LP, “Flesh Coffin” showed a band that had moved beyond mere “deathcore” trappings and had evolved into a modern metal band, as uncompromising and accomplished as any of their contemporaries or influences. “We became the band we wanted to be, rather than just the product of our early influences,” says guitarist Adam De Micco. “’Immortal’ is the latest chapter of that story of us as a band, as players and as people.” Armed with new vocalist C.J. McCreery (ex-Signs of the Swarm), LORNA SHORE has made a record that stands apart from their earlier works. The earliest hints of that have come with the release of album tracks, “This Is Hell” and “Darkest Spawn”, twin deathly salvos released from LORNA SHORE’s early album sessions with producer Josh Schroeder (Battlecross, King 810, For Today) at Random Awesome Studios in Midland, MI. Recording for the album.
Atlanta-based southern blues rocker Tinsley Ellis has been burning up the road for nearly 40 years and has another lengthy coast-to-coast tour lined up in support of Ice Cream In Hell. A blazing guitarist and forceful singer, Tinsley is making the best music of his career right now and living to play live. He'll have a warm-up tour with Alligator labelmate Tommy Castro in November, play the Legendary Rhythm & Blues Cruise in January and then hit the highway first week of February behind the new release.
The line up of drummer Art Blakey's Jazz Messengers shifted in 1961 with trumpeter Freddie Hubbard replacing Lee Morgan, pianist Cedar Walton replacing Bobby Timmons, and the addition of Curtis Fuller on trombone who joined existing members Wayne Shorter on tenor saxophone and Jymie Merritt on bass. This powerful new sextet line up first recorded on the album Mosaic, and quickly returned to the studio the next month to begin recording Buhaina's Delight.
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This popular TV program is a reimagining of the classic book, Anne of Green Gables, a coming-of-age story about a young orphan who is seeking love, acceptance and her place in the world. The soundtrack includes the theme song “Ahead by a Century” by The Tragically Hip and score from the composing duo of Amin Bhatia and Ari Posner.
Drummer Tony Williams had a long, fruitful relationship with Blue Note Records starting in the 1960s when he appeared on numerous post bop classics (Herbie Hancock Maiden Voyage, Eric Dolphy Out to Lunch, Andrew Hill Point of Departure) and made his first 2 albums as a leader: Life Time (1964) and Spring (1965). After Blue Note relaunched in 1984, Williams returned to the label eager to form a new acoustic band as a vehicle to perform his compositions.
Recorded in 1967 and featuring the Grammy Hall of Fame singer-actress' favorite romantic standards, The Love Album represented the most sensual, intimate vocals of Day's legendary career. It's considered by critics to be among her best from the 1960's and Day considered it her favorite album. An expanded CD release in 2016 added new artwork that is used here on this first ever LP release.
On January 31, 2020, Mascot Label Group/Provogue Records will release Gary Moore - Live In London, a milestone in blues rock history. Some shows are so momentous, they pass into rock ‘n’ roll folklore. When Gary Moore stepped onto the stage of London’s Islington Academy on December 2nd, 2009, it was a true one-off, showcasing one of blues-rock’s biggest names in an intimate club setting. Nobody in the sell-out crowd that night suspected the great Irish bluesman was close to the end. But when Moore passed away fourteen months later, aged just 58, the show took on added poignancy, cherished as one of his last stands, kept alive in the memories of those who attended. Now, a decade later, the release of Live From London on Mascot/Provogue resurrects the much-missed Irishman, bringing his blazing talents back into the spotlight, catching the sparks of that night in the capital, and bottling a performance that stands amongst Moore’s very best.