Indie Exclusive Releases

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The Mountain Goats

Deluxe Edition-- Double LP on yellow & green marbled vinyl in double gatefold jacket, housed in debossed dragon scale pattern slipcase. Bonus 7-inch (same as peak version, black vinyl) & collectible Dragon Leaguemembership card inside packaging. Includes coupon for full download. Indie Only. Limited Edition

The Mountain Goats are John Darnielle, Peter Hughes, Jon Wurster, and Matt Douglas. They have been making music together as a quartet for several years. Three of them live in North Carolina and one has moved back to Rochester. Their songs often seek out dark lairs within which terrible monsters dwell, but their mission is to retrieve the treasure from the dark lair & persuade the terrible monsters inside to seek out the path of redemption. As Axl Rose once memorably asked, in the song “Terrible Monster”: “what’s so terrible about monsters, anyway?” This is the question The Mountain Goats have been doggedly pursuing since 1991. They will never leave off this quest until every option has been exhausted. Thank you.

The Mountain Goats
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The Mountain Goats

Double LP on green vinyl in same packaging as standard version & a bonus 7-inch with two non-album songs (on black vinyl). Includes coupon for full download. Indie Only. Limited Edition

The Mountain Goats are John Darnielle, Peter Hughes, Jon Wurster, and Matt Douglas. They have been making music together as a quartet for several years. Three of them live in North Carolina and one has moved back to Rochester. Their songs often seek out dark lairs within which terrible monsters dwell, but their mission is to retrieve the treasure from the dark lair & persuade the terrible monsters inside to seek out the path of redemption. As Axl Rose once memorably asked, in the song “Terrible Monster”: “what’s so terrible about monsters, anyway?” This is the question The Mountain Goats have been doggedly pursuing since 1991. They will never leave off this quest until every option has been exhausted. Thank you.

The Mountain Goats
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Josh Ritter

Josh Ritter is returning this year with a new full-length, his tenth studio LP and follow-up to 2017’s Gathering. The Americana songwriter’s latest album, Fever Breaks, spans 10 tracks recorded at Nashville’s RCA Studio A over the second half of the past year. Jason Isbell produced the effort, which features his band The 400 Unit playing backup. It’s an exciting confluence of talents, and the promised chemistry bears out on the album’s gritty lead single “Old Black Magic”.

Josh Ritter
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Bailen

BAILEN’s musicality springs from a very deep well, in fact, it’s in their DNA. Raised in New York City by their classically trained parents, siblings Daniel, David and Julia Bailen (fraternal twins and younger sister, respectively) immersed themselves in a record collection that included Simon & Garfunkel, Joni Mitchell, Carole King and The Band. Produced by GRAMMY-Award winner John Congleton (St. Vincent, The War on Drugs) the transcendent harmonies, striking arrangements and meticulous songcraft of BAILEN’s debut album, Thrilled To Be Here, are rooted in the young group’s unusual self-assurance, preternatural insight and potent lyrical bite.

Bailen
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AJR

AJR's highly anticipated follow up album to The Click.

AJR
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Fat White Family

Fat White Family’s first album Champagne Holocaust was released on April 1, 2013; an iconoclastic debut, a freakshow which reminded that, as with Throbbing Gristle/The Gun Club/Butthole Surfers/Jane’s Addiction before them, the outside is the only viable place from which to make true art. America beckoned, and all the temptations and troubles that go with the touring life. The carousel began to spin. When second album Songs For Our Mothers arrived in January 2016, the band were running on fumes. Incarcerated in a fiscal Gulag, every single member had developed serious problems with alcohol and/or hard drugs; most were homeless. They were just about held together by singer Lias Saoudi who had led, Rommel-like, from day one. Saoudi’s songwriting partner and band director Saul Adamczewski had been jettisoned from the band. Salvation came via the intervention of Domino, who signed the band and backed their frontman’s stratagem to move them away from temptation. In a sprawling suburb in the North of England they established Champzone studios and, bloodied but not unbowed, they hunkered down. The collective mission statement: to make a pop record, something to distance the band from the many Fat Whites imitators who had formed in their wake. Lias’ lyrical irony, previously adopted as a protective layer against insecurity and criticism, was discarded in favour of a forensic examination of the self, what the frontman describes as “a genuine mapping out of my innermost psychological landscape, without ever patronising the listener, which for me is the lowliest crime in lyricism.” Nathan Saoudi, Lias’ keyboard playing brother, honed his own songwriting contributions, and Adamczewski returned from both rehab and time working with his other band Insecure Men - freed from the past burdens of musically carrying the project, he sank his teeth in as producer-arranger. With the smoke cleared and the battlefield-free of casualties, Fat White Family re-emerge triumphant. Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and grandiose. It invites the listener in rather than repel them through wilful abrasion. In one of the most gratifying and unexpected creative volte face in living musical memory, the band you hate to love have stormed the palace, ceased the throne, and are set to embark are on their imperial phase as overlords of a kingdom of their own making. The struggle continues, always, but for now… Serfs Up!

Fat White Family
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Rhye

Rhye’s sophomore LP Blood is getting the remix treatment. Blood Remixed finds over a dozen artists and producers reworking tracks from the original album, including Moon Boots, Jacques Greene, Channel Tres, Little Dragon, Jeff Samuel, and more.

Rhye
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The Drums

Brutalism is quite possibly the best collection of songs in The Drums’ ten-year career. The album is defined by growth, transformation and questions, but it doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt. Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision. His intentions were rooted in pop, as they’ve always been. Back in The Drums’ previous iterations, however, the pressure was on Pierce to maintain the innocent and nostalgic sound of this surf-pop indie band and it didn’t allow him to explore sex, drug use, darker emotions or how he felt currently. Abysmal Thoughts was the first occasion he had chance to do that. Lyrically Brutalism is another giant step in that direction. It’s much more cut-throat. “I think there’s a parental advisory sticker on the cover!” laughs Pierce. “I didn’t have the courage to stand up for what I wanted before. I felt I had to keep things whimsical and that’s not who I am. It feels empty.” Sonically he had been devoid of external influences, so afraid of being accused of losing the purism of The Drums’ sound. Now he’s rediscovering music: everything from SOPHIE to 90s band Whale. They inspired the loop-based, breakbeat drums on ‘Kiss It Away’ and ‘Body Chemistry’. “I used to think our songs sounded like they were held together by scotch tape. These are more bulletproof.”

The Drums
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Professor Longhair

The Professor Longhair live album documents a performance underwritten by Paul and Linda McCartney. The album was recorded March 24, 1975 on the Queen Mary cruise ship docked in Long Beach, California, USA at a private party hosted by Paul and Linda McCartney. Highlights include the rollicking "Mess Around," and the standards "Stagger Lee," "Everyday I Have the Blues," "I'm Movin' On," and his hits "Mardi Gras in New Orleans" and "Tipitina." Henry Roeland "Roy" Byrd (December 19, 1918 – January 30, 1980), better known as Professor Longhair, was a New Orleans blues singer and pianist. He was active in two distinct periods, first in the heyday of early rhythm and blues and later on during the resurgence of interest in traditional jazz surrounding the start of the New Orleans Jazz and Heritage Festival. He influenced other New Orleans musicians such as Fats Domino, Allen Toussaint and Dr. John with his rumba, mambo, and calypso piano based blues sound. 

Professor Longhair
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Pup

They say in the world of punk music nothing is given and everything is earned. Over the course of two albums PUP has given blood, sweat and vocal chords to earn every one of their accomplishments. This hard work has seen them go from scrappy young upstart on the mean streets of Toronto to bona fide punk rock heavyweights, garnering accolades from NPR Music, The New York Times, Pitchfork, and Rolling Stone. PUP have sold out headlining tours across the globe, played mainstages at major festivals and been nominated for awards but they have never stopped working, and from that effort they have emerged with their new album “Morbid Stuff.”

“Morbid Stuff” features 11 new songs that ooze passion, emotion and raw energy. This album captures the chaotically catchy, visceral sound that has already made PUP punk rock torchbearers and critical favorites, and continues to push and propel their music to the next level. “Morbid Stuff” is sure to draw in old and new fans alike to sing and shout along and share in the full experience of listening to PUP.

Pup
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Steve Earle & The Dukes

Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king.

Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. 'I wanted it to sound live...When you've got a catalog like Guy's and you're only doing sixteen tracks, you know each one is going to be strong.'

Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end GUY leads the listener back to its beginning, namely Guy Clark, which is what any good 'tribute' should do. GUY is a saga of friendship, its ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, GUY is a diamond.

Steve Earle & The Dukes
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Beth Gibbons

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) _performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. The performance took place at The National Opera Grand Theater in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski. Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Krzysztof Penderecki has been hailed as triumphant, as you can see and hear on this release.

Beth Gibbons
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Son Volt

Limited to 1,000 Copies

Includes Signed 11x11 Screen Print

Led by vocalist, guitarist, and songwriter Jay Farrar, Son Volt became one of the leading bands in the alternative country community, attracting critical praise and an audience that was loyal if not always large. Farrar has collaborated with Ben Gibbard (Death Cab for Cutie), Steven Drozd (The Flaming Lips), Jeff Tweedy (Wilco) and several other well respected artists / musicians. Their upcoming album Union will be the bands 10th studio album mixes present and past into strong confluence.The thirteen new songs written by Farrar confront our turbulent politics and articulate the clarity and comfort music can offer in the tumult.

Son Volt
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Jenny Lewis

Having ended 2018 on a high note with the announcement of her fourth solo album On The Line—to be released March 22nd on Warner Bros. Records—Jenny Lewis has now unleashed the first taste of her highly anticipated return with the first single, “Red Bull & Hennessy

Jenny Lewis
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Ex Hex

Single LP on magenta & blue swirl vinyl in same packaging as standard LP.  Includes coupon for full download. Indie Only. Limited Edition

When Ex Hex exploded onto the scene with their unfettered brand of rock and riffage, the power trio for our generation had finally arrived. Made up of Mary Timony (guitar, vocals), Betsy Wright (bass, vocals), and Laura Harris (drums), the group’s 2014 debut Rips was a gleaming collection of tightly wound gems that scored Best New Music honors from Pitchfork, the top spot on Magnet Magazine’s Best of 2014 list, and No. 11 in that year’s Pazz & Jop critics poll. Near-constant touring throughout 2015 and 2016 established the band as a force to be reckoned with: an audacious three-piece distilling rock music to its essence with formidable skills and a reputation for frenzied and unabashedly fun live shows.

On It’s Real, the group’s forthcoming second album, Ex Hex’s commitment to larger-than-life riffs and unforgettable hooks remains intact, but the garage-y, post-punk approach that defined Rips has grown in scale and ambition. What started as a reaction to the blown-out aesthetic of Rips would test the sonic limits of the power trio and lead the band on a quest for a more immersive and three-dimensional sound. Vocal harmonies are layered ten tracks deep, solos shimmer and modulate atop heaving power chords, and the codas linger and stretch toward new frontiers of sound. On first listen, you might think you’ve unearthed a long-lost LP carved from the space where crunch-minded art rock and glitter-covered hard rock converge, an event horizon at the intersection of towering choruses and swaggering guitars.

Ex Hex
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Lambchop

As with 2012's engrossing Mr. M and 2016's staggering FLOTUS, Kurt Wagner's openness to unexpected collaborators to give his thoughts and feelings the shape they need was central to the creation of This (is what I wanted to tell you). In the summer of 2017, Wagner re-met Matthew McCaughan, who has spent the last decade drumming for the likes of Bon Iver and Hiss Golden Messenger. McCaughan told Wagner he had been adventuring inside the world of rack-mounted analogue synthesizers and asked if Wagner might send some vocals to which he could compose. They became instant musical pen pals, with Wagner sending him a cappella takes of new song ideas and McCaughan dispatching long-form synthesizer pieces for inspiration. McCaughan eventually headed to Nashville, where, together, they put a band behind the songs, using pedal steel and piano and the harmonica of Nashville legend Charlie McCoy to color in the spaces of these black-and-white sketches.

Lambchop
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La Dispute

La Dispute is five close friends from the Upper Midwest with a firm passion for the concept of music and art as a medium for making new friends. As a result, La Dispute makes (or strives to make) music that is both artistically, technically, and emotionally engaging in hopes of establishing legitimate connections with any and all interested people, while encouraging dialogue between those people and themselves about things in life that truly matter and that truly last. La Dispute also carries a firm passion for the relevance of a live show, both for the bands involved and for the people in attendance, and will go to the grave believing that the environment created when strangers come together despite their differences to celebrate one important thing is invaluable and should not under any circumstances be taken for granted.

La Dispute
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Andrew Bird

My Finest Work Yet finds Bird grappling with themes of current day dichotomies and how to identify a moral compass amidst such divisive times. “I’m interested in the idea that our enemies are what make us whole—there’s an intimacy one shares with their opponent when locked in such a struggle. If we were to just walk away would our enemies miss us? How did we get to this point and how can we, through awareness of it, maybe pull ourselves out of this death spiral,” says Bird.

Andrew Bird
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Fallujah

California progressive death metallers Fallujah are swinging upward and venturing outward on new album, Undying Light. With new vocalist in Antonio Palermo (also of Underling fame) firmly in position and a no-filler, all-killer songwriting attack, Undying Light isn’t the follow-up to Dreamless, it’s a massive jump forward. Whereas Dreamless wandered intelligently and resonated lithely, new tracks such as “Glass House,” “Ultraviolet,” “Eyes Like the Sun,” and closer “Departure” find Fallujah stripped down, razor-sharp, and emotionally charged.

Fallujah
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Dido

One of the biggest selling UK artists of all time, Dido returns with her 5th studio album "Still On My Mind".

Dido
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Chatham County Line

North Carolina-based ensemble Chatham County Line will return with their eighth studio album this spring titled Sharing The Covers. The album is, at its core, a tribute to those whom Chatham County Line hold dear, and a chance for the group to perform modern and traditional classics in the bluegrass-style they're known for best. On the 13-track collection, CCL takes the familiar and adds a touch of originality to create a wholly new and inventive roster of covers by Tom Petty, Alton Delmore, John Lennon, The Louvin Brothers, Beck, James Hunter, and more.

Chatham County Line
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Buckcherry

Ask Josh Todd about the inspiration behind Warpaint, Buckcherry’s eighth studio album--and indeed, the frontman’s goal in making music--and he’s got a ready response: “I want to connect with people, host the party, and give people a night they’re never going to forget,” Todd says. As he sings in Warpaint’s title track, “I wanna have fun blowing out your eardrums keep it rocking state to state.” The Los Angeles-based lineup has been doing exactly that since the 1999 release of their self-titled album. Hits including “Lit Up,” “For the Movies,” “Crazy Bitch” and “Sorry,” not to mention Grammy nominations, international touring and Platinum sales, have solidified Buckcherry’s rock ‘n’ roll bona fides. Warpaint, produced by Mike Plotnikoff (Halestorm, All That Remains), with a March 8, 2019 release date, adds to that impressive legacy, boasting the dynamics and immediacy of the band’s incendiary live show, coupled with Todd’s personal, no-holds-barred lyricism.

Buckcherry
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Weezer

Weezer (The Black Album) was produced by TV On The Radio's Dave Sitek, with whom the band worked for the first time. The album's songs were entirely written on piano by frontman Rivers Cuomo for the first time in Weezer history, creating some of the most satisfyingly awesome songs in the entire hits-filled Weezer catalogue. With band members switching up instruments in the studio, and choruses filtered through Sitek's own encyclopedic musical references of everything from Gorillaz to Can to Pink Floyd, Weezer (The Black Album) is the bold next step in the winning streak of acclaimed albums they've released since 2014.

Weezer
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The Cactus Blossoms

The Cactus Blossoms - Minneapolis-based blood harmony brother duo Page Burkum and Jack Torrey - return with new album Easy Way (March 1), a self-produced collection of ten new originals on their own Walkie Talkie Records.  Featuring special contributions from Dan Auerbach and renowned saxophonist Michael Lewis (Bon Iver, Andrew Bird), Easy Way expands on the creative turns of phrase, gorgeous harmonies, and ageless sound (NPR) theyre known and loved for to deliver something new and distinctly modern.Since the release of their 2016 debut Youre Dreaming, The Cactus Blossoms experienced a number of breakout moments, including tours with Kacey Musgraves and Lucius, appearances on prestigious stages from Newport Folk to Lincoln Center, and a perfectly cast appearance on the third season of David Lynchs Twin Peaks.

The Cactus Blossoms
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Meat Puppets

The legendary Meat Puppets have reunited and put together an album of new music. The album, Dusty Notes, will be available March 8th via Megaforce records.  Includes the single "Warranty".

Meat Puppets
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Nightwish

Formed in 1996 Nightwish have made a name for themselves all over the world. Nuclear Blast America is excited to finally re-issue some of the band’s most beloved records like “Once”, “Dark Passion Play” and the band’s 2009 live record “Made in Hong Kong (And in Various Other Places)”. This will also be the first time these records have been made available domestically on vinyl.

Nightwish
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Nightwish

Formed in 1996 Nightwish have made a name for themselves all over the world. Nuclear Blast America is excited to finally re-issue some of the band’s most beloved records like “Once”, “Dark Passion Play” and the band’s 2009 live record “Made in Hong Kong (And in Various Other Places)”. This will also be the first time these records have been made available domestically on vinyl.

Nightwish
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Nightwish

Formed in 1996 Nightwish have made a name for themselves all over the world. Nuclear Blast America is excited to finally re-issue some of the band’s most beloved records like “Once”, “Dark Passion Play” and the band’s 2009 live record “Made in Hong Kong (And in Various Other Places)”. This will also be the first time these records have been made available domestically on vinyl.

Nightwish
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Devil Master

Philadelphia's DEVIL MASTER stake their claim as one of the most venomous, twisted entities in the underground with their hellish debut, Satan Spits on Children of Light. The album, recorded, mixed, and mastered by Arthur Rizk (POWER TRIP, MAMMOTH GRINDER, OUTER HEAVEN, and more,) rattles the very gates of hell with a vile dose of black metal-infused punk mayhem. Commanding the steel of VENOM, the fury of BATHORY's earliest years, and the raw, uncompromising nature of the notorious GISM, Satan Spits on Children of Light sees DEVIL MASTER emerge from the grave and reach new blasphemous heights. Give in to the Satanic panic and obey your DEVIL MASTER!

Devil Master
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Frankie and the Witch Fingers

Frankie and the Witch Fingers' fifth LP, ZAM, bleeds beyond borders and boundaries. Its opening preternatural sounds bubble up out of the primordial soup, spilling into our world, invading the inner recesses of the listener's mind. Like a two-headed snake wrapped around the skull, the album pendulates between winding instrumentals and dancey riffs that pop like supernovas out of the black void. Just when a song goes one way, it propels another through long stretches of a cosmic inferno. Bringing glimmers of krautrock and funk, its eleven tracks unleash a versatile and tenacious weight, slithering between the sexy, the aggressive, the vivacious, and the disorienting-until the living invasion is felt-ZAM-a supernatural entity summoned by four madmen obsessed with tearing open a gateway to dark space. After being pulled apart atom-by-atom, the listener is reconfigured on the other side, born unto starry wasteland. Where head is separated from body. Where music is seen and apocalyptic soundscapes flow to revelation. A funhouse undercurrent pulses through the album's epoch, reflecting a carnival mosaic shrewdly lulling and doggedly brutal. As one track bleeds into the next, that hour of running time becomes wormhole travel, until the listener returns earthbound, transmuted, craving more odyssey.

Frankie and the Witch Fingers
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